The many faces of a woman trying to find herself in a world of men.
Twelve episodic tales in the life of a Parisian woman and her slow descent into prostitution.
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Twelve episodic tales in the life of a Parisian woman and her slow descent into prostitution.
Viver a Vida, 자기만의 인생, Viver a Sua Vida. Filme Em 12 Quadros, It's my Life, My Life to Live
Godard didn't deserve Anna Karina.
Jean-Luc Godard can be a real son of of a bitch.
Vivre Sa Vie is about attempting to navigate an unfeeling world. It's about the beautiful Anna Karina and it's about tragedy. It is Godard's Pandora's Box and it unfolds rhythmically in a brilliant parade of pathos. Vivre Sa Vie is a cocoon of complex love. It is Godard studying his lover. He is trying to envelop her in his spirit. He's trying to capture her. He's trying to understand.
The film rests on the natural talents of Anna Karina. It relies solely on the power of her presence. This is not the study of Karina's character, it's an examination of the inexpressible beauty of her. It's about watching…
Clearly liked it a lot more than Breathless. At the end of the day I’m still pretty conflicted on how I feel. Like I love everything about this, the visual language, the editing, the performances, the philosophy in that 11th story. The only thing it’s missing is me giving any sort of shit about this woman. I will say, that final shot is absolutely tragic in the context of the entire film but that can’t be the only time I care about her. Ya know? Still though, I’m sure there’s a Godard for me that I’m gonna love, we’re getting closer.
In Vivre Sa Vie we get to know Nana; a woman that dreams of becoming an actress and has one man for every occasion. She believes that mankind is free and are responsible for every action and emotion, and that's a belief that is put to the test as she starts to work as a prostitute...
Vivre Sa Vie has everything I love with Godard films. The melancholy, the fantastic dialogues, the innovative camera work, the social political commentary, beautiful music, beautiful women and last, but not least; tons of references to movies, literature and philosophy. In the case of Vivre sa vie Godard is very straight forward with what he's trying to say, what existential thoughts he's trying to…
Jean-Luc Godard's Vivre Sa Vie bitterly shows the sad reality on what it's like to be a woman in a man's world.
The subject of this film: Anna Karina, Godard's own wife. She plays Nana, a young Parisian woman who leaves her unhappy marriage in an attempt to pursue a life of fame and acknowledgement. But over the course of twelve episodes, we see Nana’s spiralling descent into prostitution instead.
I liked how this film didn't treat its theme of prostitution in overly dramatic fashion; but then again, Vivre sa Vie isn't really about prostitution. This is about Nana and her search for existential truth and happiness.
Throughout its 84 minutes runtime, we are completely drawn to Nana, not just…
Vivre Sa Vie, My Life to Live, and if it's my life to live then it's mine to give.
And so our Nana gives it to a husband she loves but then takes it back when she falls out of it. And why? Because she cannot bear to be so dependent on him and desires to live her life how she wants.
But there-in lies the problem: she can't. With her husband she loses autonomy and without him she cannot survive; she dreams of becoming an actress as she leaves but finds such aspirations unattainable. Hers is a world where women are extensions of men, and attempts to break free and blossom are met with indifference and their withering away.…
A stranger talks about the importance of words, when suddenly, Godard jump-cuts to a shot of Anna Karina's piercing eyes looking directly into camera. Afterwards, a man reads aloud a barrage of elegant, lustful prose, and yet all we see is an isolated Karina, framed like a monument against Godard's flat mise-en-scene. Words, images and sounds can only communicate so much. One must combine them to find the soul.
Okay…I admit, this is only my second Godard film. That being said, both films I’ve seen of his (Breathless and now Vivre Sa Vie) have left me feeling a bit cold and uninvolved. With Vivre Sa Vie I feel as if I can admire the parts but not the sum. The acting, dialog, camerawork, story, etc…all pretty wonderful…yet when I step back at the end I don’t feel connected or moved by these characters at all. There is this almost unexplainable coldness to the way Godard portrays the characters, which leaves me feeling like I’m on the outside looking in. It’s hard to put a finger on why or how this happens, maybe it’s just a personal thing and there…
Jean-Luc Godard’s French new wave drama Vivre sa vie communicates a tragic inevitableness to men’s insensitive coveting and subsequent neglect of women. Told in twelve brief vignettes which continually shift style, Godard’s direction expresses his typical scope for a steep cinematic vision yet there's an uncommon tenderness in the movie where the thresholds imposed on the leading character Nana Kleinfrankenheim, portrayed by Anna Karina, are cared for sympathetically.
The film exemplifies an unbound attitude to filmmaking, as can consistently be anticipated from Godard, and there are some interesting discussions contemplating art and philosophy. Components of an assortment of diverse genres spring forth erratically, and the occasional termination of the sound associated with the close-ups of Karina’s face recalls some of the masterworks of silent cinema. It's rather gloomy material, but it touches down in a feminist territory that spotlights the unreasonably restrictive options available to women in the early sixties.
In Vivre Sa Vie, Jean-Luc Godard explores a character, Nana. Nana left her husband so she could go to Paris to become an actress, and already in the first chapter, we are introduced to Nana leaving him. If I had been the director of Vivre Sa Vie, maybe I’d have done some close-ups, but, hahaha, it’s a Godard film so of course it’s filmed so we see Nana’s back and her husband’s back, too. A shot like that happened once a chapter and left me thinking about it. Why do we see their backs? To give the audience the feeling of Nana forgetting her husband later on, since we don’t know his face? Is it to make it seem like…
Vivre Sa Vie is another Godard masterpiece, using fractured yet distinctly stunning editing techniques to bring the character of Nana’s life to the screen and convey it in an intimate, somber method that’s as introspective as it is unique. A beautiful, tragic film that stands as one of Godard’s most emotionally complex and philosophical works, carried by a tender performance from Anna Karina. The way Godard frames her is lovely yet melancholy, a reflective look at our past, present, and future. You feel like you can read Nana’s thoughts as she stares into the screen. Loved this!
Dua orang duduk di sebuah bar, mereka berbincang-bincang. Kamera menyorot keduanya dari belakang lalu bergeser untuk memfokuskan pandangan ke arah sang pria yang tengah berbicara. Lalu saat sang wanita berbicara, kamera bergeser menyorotnya. Kamera lalu bergerak seperti itu terus, bergantian mengarahkan fokus pada karakter yang tengah berbicara. Stylish, but why? Kenapa Godard memilih melakukannya. Bisa saja saya salah, tapi menurut saya penggunaan gerakan kamera tersebut bertujuan sebagai perwakilan mata penonton dalam melihat adegan tersebut. And it worked, it feels authentic. Kamera sebagai mata penonton yang tengah melihat, penasaran, dan bergerak. Memperhatikan segala hal yang ada di layar lalu akhirnya kita terpikat dengan apa yang Godard hasilkan dalam filmnya.
Sebagaimana karakter Nana yang merasa bahwa kehidupannya terasingkan, lagi-lagi Godard mewakili hal…
I think we're always responsible for our actions. We're free. I raise my hand - I'm responsible. I turn my head to the right - I'm responsible. I'm unhappy - I'm responsible. I smoke a cigarette - I'm responsible. I shut my eyes - I'm responsible. I forget that I'm responsible, but I am. I told you escape is a pipe dream. After all, everything is beautiful. You only have to take an interest in things, see their beauty. It's true. After all, things are just what they are. A face is a face. Plates are plates. Men are men. And life, is life.
nz koji mi kurac bio da uzmem godara opet pokvario sam sebi lepu uspomenu :/
'We swing between the two because it is the movementof life'
God I miss Anna Karina.
Vivre sa Vie is an interesting entry into Godard’s New Wave work. Unlike it’s peers, the film maintains focus on it’s scenes, characters and subjects for much longer, which gives all of it time more time to develop than he would usually allow. In this regard, it’s probably the most accessible film in his early catalogue, especially with how sadly relevant it’s themes seem to remain today.
Besides that, everything I expected from another Godard picture is here: outstanding directing, great performances, gorgeous cinematography, a weird feeling that I’m watching a play being performed and filmed in the real word (which it is) to show the world what it’s own self is like. What more do you want?
That machine gun scene was more powerful than some blows by an actual machine gun!
I´ve finally seen my first Jean-Luc Godard film and I´m already fascinated by his style.
“Vivre Sa Vie” is a drama divided in 12 chapters that follows an aspiring actress turned prostitute on her tragic search for happiness, meaning, and self-fulfillment. It´s a bleak and melancholic character study with a devastating ending, but it´s also strangely beautiful and touching.
I´ve already heard that Godard loves to play around with the cinematic form and that´s definitely the case here. Especially the camerawork, framing, and editing are experimental and innovative and the enthralling mise-en-scène makes the movie a visually pleasing and artistically fascinating experience. I also like how every chapter feels unique and has its own distinct purpose. Apart from the visual…
Te imaginás que Anna Karina se siente con vos a filosofar? Uf
damn i thought i’d like this
“to be completely at one with what you love, you need maturity”
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