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Actresses who appeared with Jean-Luc Godard on screen:

Elizabeth Hurley
Molly Ringwald
Bridget Fonda
Jane Fonda
Tilda Swinton
Juliette Binoche
Beverly D'Angelo
Raquel Welch
Julie Delpy
Catherine Denueve
Catherine Deneuve
Brigitte Bardot
Theresa Russell
Isabelle A
Emmanuelle Seigner
Julie Hagerty

Jean-Luc Godard
Birthday: December 3, 1930

Birth Place: Paris, France
Height: 5' 7"

Below is a complete filmography (list of movies he's appeared in) for Jean-Luc Godard. If you have any corrections or additions, please email us at corrections@actorsofhollywood.com. We'd also be interested in any trivia or other information you have.



The linchpin of the French New Wave, Jean-Luc Godard was arguably the most influential filmmaker of the postwar era. Beginning with his groundbreaking 1959 feature debut A Bout de Souffle, Godard revolutionized the motion picture form, freeing the medium from the shackles of its long-accepted cinematic language by rewriting the rules of narrative, continuity, sound, and camera work. Later in his career, he also challenged the common means of feature production, distribution, and exhibition, all in an effort to subvert the conventions of the Hollywood formula to create a new kind of film. Godard was born in Paris on December 3, 1930, the second of four children. After receiving his primary education in Nyon, Switzerland — during World War II, he became a naturalized Swiss citizen — he studied ethnology at the Sorbonne, but spent the vast majority of his days at the Cine-Club du Quartier Latin, where he first met fellow film fanatics Francois Truffaut and Jacques Rivette. In May 1950, the three men united to publish La Gazette du Cinema, a monthly film journal which ran through November of the same year; here Godard printed his first critical pieces, which appeared both under his own name and under the pseudonym Hans Lucas. With Rivette's 1950 short feature Quadrille, Godard made his acting debut, also appearing in Eric Rohmer's Presentation ou Charlotte et son Steack the following year.In January 1952, Godard began writing for Cahiers du Cinema, the massively influential film magazine which also grew to include staffers Truffaut, Rivette, Rohmer, and Claude Chabrol, among others. However, Godard's first tenure at Cahiers proved to be brief: In the autumn of 1952, he left France to return to Switzerland, where he worked on the construction of the Grande-Dixence Dam. With his earnings, Godard was able to finance his first film, the short subject Operation Beton. While in Geneva in 1955, he helmed his sophomore effort, the ten-minute Une Femme Coquette, subsequently appearing in Rivette's Le Coup de Berger. Upon returning to France in the summer of 1956, Godard resumed his work at Cahiers after a four-year break from writing. There he rose to the top ranks of French film criticism while honing his increasingly fresh and freewheeling directorial style over the course of the short comedies Tous les Garcons s'appellent Patrick (1957), Charlotte et son Jules, and Une Histoire d'Eau (both 1958), the latter co-directed by Truffaut. In 1959, Godard embarked on his feature debut, A Bout de Souffle (Breathless). Released at roughly the same time as Truffaut's Les Quatre Cents Coups and Alain Resnais' Hiroshima Mon Amour, the picture helped establish the emergence of what was dubbed the French New Wave, a revolutionary movement in film heralded primarily by Cahiers alumni. A Bout de Souffle quickly earned global acclaim as the definitive document of its era. Based on a rough story outline contributed by Truffaut, it was shot without a script, its inspiration the American gangster movies which its director loved so passionately. Crafted with a rough-and-tumble, home-movie-like quality, it dodged all accepted notions of narrative and visual storytelling, adopting a freeform hipness unlike anything before it and sparking a revolution in low-budget, on-the-fly independent filmmaking. Seemingly overnight, Godard was revered as the most important cinematic talent of his generation. Quickly, however, Godard's refusal to be pigeonholed became apparent, and despite a few works of lesser quality, his work over the course of the upcoming decade was a remarkable period of innovation, experimentation, and sustained genius. In 1960, he resurfaced with his second feature, an oddball political thriller titled Le Petit Soldat. The first of many films to star his then-wife Anna Karina, it became the subject of controversy over its characters' connection to the Algerian crisis and was banned in France for three years. Shooting for the first time in color and in CinemaScope, he next filmed 1961's comic tale Une Femme Est une Femme, followed a year later by the episodic essay on prostitution Vivre Se Vie. Again, both starred Karina, prompting criticism — similar to the charges of indulgence leveled at Michelangelo Antonioni over his frequent use of actress Monica Vitti — that Godard was using her as a non-actress, a mere screen presence utilized and manipulated in ways that she herself did not fully comprehend.The first of Godard's films to receive a critical thrashing was 1963's war drama Les Carabiniers, but Le Mepris, a study of the nature of cinema itself, starring Brigitte Bardot, returned him to reviewers' good graces. An astonishingly prolific and brilliant period followed, led off by 1964's Bande a Part and Une Femme Mariee. Pierrot le Fou and Alphaville, une Etrange Aventure de Lemmy Caution, a singular science fiction effort, appeared in 1965, and a year later no less than three new features — Masculin Feminin, Made in USA, and Deux ou Trois Choses Que Je Sais d'Elle — bowed. Godard repeated the trifecta in 1967 with La Chinoise, ou Plutot a la Chinoise, Loin du Viet-Nam, and finally the apocalyptic Weekend, his most formally radical film since A Bout de Souffle. Beginning in 1968, Godard's so-called "radical" period emerged and took form during an era when the political leanings below the surface of many of his earlier works began to position themselves as the director's dominant focus. Through Anne Wiazemsky, his second wife, Godard was initiated into Paris' Maoist underground. Ultimately, his entire worldview shifted from that of the obsessive cinephile to a radical outlook which even prompted him to reject his own film oeuvre as "bourgeois." The global tumult that defined 1968 further informed his consciousness as he mounted Le Gai Savior, a series of political dialogues punctuated by telling images and symbols. Next was Un Film Comme les Autres, a collection of images juxtaposed with the various conversations between workers and students. One Plus One — a documentary portrait of the Rolling Stones also known as Sympathy for the Devil — followed. The final project of 1968, One American Movie (a planned cin

Movie Credits
Notre musique (2004)
Moments choisis des histoire(s) du cinéma (2004)
Ten Minutes Older: The Cello (2002)
[ Daniel Craig ][ Dominic West ][ Bernardo Bertolucci ]
Liberté et patrie (2002)
Éloge de l'amour (2001)
Origine du XXIème siècle, L' (2000)
Histoire(s) du cinéma: Les signes parmi nous (1998)
Histoire(s) du cinéma: Une vague nouvelle (1998)
The Old Place (1998)
Histoire(s) du cinéma: La monnaie de l'absolu (1998)
Histoire(s) du cinéma: Le contrôle de l'univers (1998)
Histoire(s) du cinéma: Seul le cinéma (1997)
Histoire(s) du cinéma: Fatale beauté (1997)
For Ever Mozart (1996)
Deux fois cinquante ans de cinéma français (1995)
JLG/JLG - autoportrait de décembre (1995)
Hélas pour moi (1993)
Enfants jouent à la Russie, Les (1993)
Je vous salue, Sarajevo (1993)
Allemagne 90 neuf zéro (1991)
Contre l'oubli (1991)
Nouvelle vague (1990)
[ Alain Delon ]
Comment vont les enfants (1990)
Histoire(s) du cinéma: Une histoire seule (1989)
Histoire(s) du cinéma: Toutes les histoires (1989)
Rapport Darty, Le (1989)
Puissance de la parole (1988)
On s'est tous défilé (1988)
Soigne ta droite (1987)
King Lear (1987)
[ Burgess Meredith ]
Aria (1987)
[ John Hurt ][ Robert Altman ]
Meetin' WA (1986)
[ Woody Allen ]
Soft and Hard (1986)
Détective (1985)
'Je vous salue, Marie' (1985)
Prénom Carmen (1983)
Petites notes à propos du film 'Je vous salue, Marie' (1983)
Passion (1982)
Scénario du film 'Passion' (1982)
Lettre à Freddy Buache (1981)
Sauve qui peut (la vie) (1980)
Scénario de 'Sauve qui peut la vie' (1979)
Comment ça va? (1978)
Ici et ailleurs (1976)
Numéro deux (1975)
One P.M. (1972)
Letter to Jane (1972)
Tout va bien (1972)
Lotte in Italia (1971)
Vent d'est, Le (1970)
British Sounds (1970)
Pravda (1970)
Vladimir et Rosa (1970)
Gai savoir, Le (1969)
Amore e rabbia (1969)
[ Bernardo Bertolucci ]
Sympathy for the Devil (1968)
Cinétracts (1968)
Un film comme les autres (1968)
Week End (1967)
Loin du Vietnam (1967)
Chinoise, La (1967)
Plus vieux métier du monde, Le (1967)
2 ou 3 choses que je sais d'elle (1967)
Made in U.S.A. (1966)
Masculin féminin: 15 faits précis (1966)
Pierrot le fou (1965)
[ Jean-Paul Belmondo ]
Paris vu par... (1965)
Alphaville, une étrange aventure de Lemmy Caution (1965)
Une femme mariée: Suite de fragments d'un film tourné en 1964 (1964)
Plus belles escroqueries du monde, Les (1964)
Bande à part (1964)
Reportage sur Orly (1964)
Mépris, Le (1963)
[ Jack Palance ]
Carabiniers, Les (1963)
Ro.Go.Pa.G. (1963)
[ Orson Welles ][ Tomas Milian ]
Petit soldat, Le (1963)
Vivre sa vie: Film en douze tableaux (1962)
Sept péchés capitaux, Les (1962)
Une histoire d'eau (1961)
[ François Truffaut ]
Une femme est une femme (1961)
[ Jean-Paul Belmondo ]
Charlotte et son Jules (1960)
[ Jean-Paul Belmondo ]
À bout de souffle (1960)
[ François Truffaut ][ Jean-Paul Belmondo ]
Charlotte et Véronique, ou Tous les garçons s'appellent Patrick (1959)
Une femme coquette (1955)
Opération béton (1954)


  • Was voted the 31st Greatest Director of all time by Entertainment Weekly.
  • Biography in: John Wakeman, editor. "World Film Directors, Volume Two, 1945-1985". Pages 392-400. New York: The H.W. Wilson Company, 1988.

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