Jean-Luc Godard: 3 best cameos in his own movies

Jean-Luc Godard, who spearheaded the revolutionary French New Wave of cinema, died at the age of 91. His partner Anne-Marie Mieville told news agency ATS that Godard died peacefully and surrounded by his loved ones at his home in the Swiss town of Rolle, on Lake Geneva, on Tuesday.

French President Emmanuel Macron wrote in a social media post that the country had “lost a national treasure, the eye of a genius.”

“It was like an appearance in French cinema. Then he became a master. Jean-Luc Godard, the most iconoclastic of New Wave filmmakers, had invented a resolutely modern, intensely free art”, Macron said in his tribute.

Also Read | Jean-Luc Godard: Age, family, net worth and filmography

Godard’s work brought a new verve and daring to cinema. He influenced directors from Quentin Tarantino to Martin Scorsese.

His rich movie list included Le Mépris (Contempt), Bande à Part (Band of Outsiders) and Alphaville.

Below are the best three Godard cameos in his own films.

Our Music: It is a three-part experimental film, directed by Jean-Luc Godard. It explores violence, media and morality. In the first segment, “Hell,” actual battle footage from various world conflicts is intercut with scenes from war films. In “Purgatory,” journalists Judith (Sarah Adler) and Olga (Nade Dieu) travel to Sarajevo for a lecture featuring renowned poets, writers and Godard himself.

In “Heaven,” the final piece, Olga strolls by an isolated lake inexplicably occupied by the US military.

Also Read | Jean-Luc Godard: 5 lesser-known facts about the French filmmaker

Pravda: This film Godard made with the Groupe Dziga Vertov – a Marxist film about the political situation after the ’68 revolution. The film is shot entirely in Czechoslovakia.

Vivre sa vie:

This is a 1962 French New Wave drama film directed by Jean-Luc Godard. The film was released in the United States as My Life to Live and in the United Kingdom as It’s My Life.

The film is told through 12 “episodes”, each preceded by a written intertitle. We hear Godard in two scenes: when the North African runs into the café in tableau 6; in tableau 12, his voice is super-imposed on the image of the young man Nana loves.