On a movie set, in a factory, and at a hotel, Godard explores the nature of work, love and film making. While Solidarity takes on the Polish government, a Polish film director, Jerzy, is stuck in France making a film for TV. He's over budget and uninspired; the film, called "Passion," seems static and bloodless.
Godard met Hanna Schygulla in Hollywood when she was shooting "One from the Heart" with Francis Ford Coppola. Godard asked Schygulla at once if she wanted to participate in his new film but she first wanted to see a synopsis. Soon after Godard sent her a three-page summary in English. The film marks Godard's reunion with cinematographer Raoul Coutard; the last time they had worked together was on "Week-end" (1967), which is usually considered the end of the French New Wave.
Of Godard's later (Second Wave) films, this may be the most artistic. He not only references works of art in the film several times over, but even makes film an art within an art. The casting of little people for the film-within-a-film is interesting, and adds that surreal quality to the movies that people of unusual size tend to do. This is definitely worth a repeat viewing.
Godard met Hanna Schygulla in Hollywood when she was shooting "One from the Heart" with Francis Ford Coppola. Godard asked Schygulla at once if she wanted to participate in his new film but she first wanted to see a synopsis. Soon after Godard sent her a three-page summary in English. The film marks Godard's reunion with cinematographer Raoul Coutard; the last time they had worked together was on "Week-end" (1967), which is usually considered the end of the French New Wave.
Of Godard's later (Second Wave) films, this may be the most artistic. He not only references works of art in the film several times over, but even makes film an art within an art. The casting of little people for the film-within-a-film is interesting, and adds that surreal quality to the movies that people of unusual size tend to do. This is definitely worth a repeat viewing.