（转自IMDB）
Everything returns to normal after Chernobyl. That is, everything but art. Most of the great works are lost, and it is up to people like William Shakespear Junior the Fifth to restore the lost artwork of the human race. He finds strange goings-on at a resort enough to remind him of all the lines of the play, dealing with mob boss Don Learo and his daughter Cordelia, a strange professor named Jean Luc-Godard (sic), who repeatedly xeroxes his hand for no particular reason. He is followed by four humanoid goblins that keep tormenting Cordelia. There is also the gentleman whose girlfriend, Valerie, isn't always visible. Then the film is sent off to New York for Mr. Alien to edit.

与儿子居住的再婚妇女夏洛特，与三个男人住在一起，但她又与地方剧团成员保持着性关系，最终她怀孕了，只是谁也不能断定这孩子的父亲是谁……

法国新浪潮大师让·吕克·戈达尔将与瑞士洛桑艺术设计大学电影系主任Lionel Baier进行一场 Instagram直播，主题是【新冠疫情时期的影像】( images in times of Coronavirus )。

Serge Daney died twenty years ago, at the age of 48 years. Journalist, traveler, it was a critical thinker and a respected television production scanning, video, and especially passionate cinephile. This documentary recreates the word of Serge Daney on film and filmmakers that collects on Serge Daney.

本故事短片好似一个喜剧小品，与作家已分手的女友突然回来，令男人心情复杂。初始以为女友是想重拾旧好，于是百般讽刺；待发现女友的情人就在楼下车中等她时，又百般哀求。影片的对白全部出自男作家对女友的絮叨，包括对电影的讽刺、对电影圈丑闻的曝光，妙趣盎然又有利于刻画人物性格。

18min
A young woman is going to Paris by bus, but when she steps out of her house she discovers that her garden and the whole village is flooded with water. With a boat and a bike she succeeds to reach a dry spot in the village. There a young man in a car offers her a lift. They drive around in circles, trying to find a way out of the area, but all ways are blocked by the water. Concurrently with the ever rising water the emotions within the two young people also start rising. At last they find their way out of the flooded area. When they reach Paris and the young woman looks up at the Eiffel Tower, she knows that she is going to spend the night with this man.

安娜.卡利娜扮演一个脱衣舞表演者，她的《十二月的自画像》（JLG/JLG - autoportrait de d閏embre），我们清晰地看到了一个宗教画的戈达，一个“视野即思想”的戈达尔，一个再天地悠悠中醒悟“最后需要牺牲”的戈达尔。

Jean-Luc Godard did not attend the world premiere of his new film, ADIEU AU LANGAGE (GOODBYE TO LANGUAGE), at Cannes. But instead, he sent a letter in motion to Gilles Jacob and Thierry Fremaux, the directors of the Festival.
Made public the 21/05/2014.

这部影片可以说是改编自卢梭写于十八世纪的教育名著《爱弥儿》的电视版。卢梭以一部有关一个叫爱弥儿的儿童的完美教育的小说，来抒发他在教育方面的理念。影片本身则包含两个角色(分别由让-皮埃尔·莱奥及朱莉叶·贝尔托扮演)在暗黑的电视摄影棚内进行的一系列对话。虽然表面看来，这部影片与卢梭的《爱弥儿》似乎没有什么关联，但事实上，它非常接近《爱弥儿》一书的精神，只不过它是以现代手法（卢梭是以小说，戈达尔是以电视节目)来阐述教育的问题。
对戈达尔以及影片中的两个角色而言，教育的根本问题在于能够对日常生活中时刻都在冲击我们的声音和影像提供某些理解。这样的理解必须建立在掌握声音和影像之间关系的基础上，因为除非我们有这样的掌握，否则，套用该片中的对白来说，我们将没办法真正了解、没办法真正制作电视或电影。我们所能做的，只是不断地重复某些声音和影像——由于我们不值这一套语言，所以反被这套语言所控制。不仅电视或电影制作者对这套语言一无所知，观看的观众也同样是一无所知。
正如卢梭的小说提供了我们一种充满想像力的理想教育课程，同样，戈达尔的影片也提出了一套三年的课程，帮助我们去探索、解答影片中任何一个影像或连串影像的组合与声音之间关系的问题。
《快乐的知识》片中所提到的神话般的三年课程，恰好适当地描绘出戈达尔本身在68年之后那三年的活动。引用他影片中的对白来说，从头开始是必要的。更精确地说，一如朱莉叶·贝尔托在片中指出的：折返零点。戈达尔开始进行对电影语言的探究，这或许是电影有史以来最为严谨、最具自觉的一次。

Author of the official spot of the 22nd Ji.hlava IDFF 2018 is the renowned French New Wave director Jean-Luc Godard.

Brief, fragmented memories of Rohmer spoken by Godard, while the screen shows various titles of articles Rohmer wrote for Cahiers du Cinema

其实，作为左派的戈达尔，早在1968年从传统电影体制撤出来后，就以同情心关注着巴勒斯坦问题。他的吉加.维尔托夫小组在1970年于约旦实地拍摄关于巴勒斯坦解放运动的《直至胜利》，后来因为客观历史事件而被迫放弃。而这部未能露面的电影也成为吉加.维尔托夫小组电影试验的高峰。接下来的1974年，他与玛丽.密耶维尔在他们位于格勒诺勃城的声影制作室（Sonimage）完成了《此处和彼处》。

援引戈林.麦凯波在《戈达尔：影像、声音与政治》一书中所述：这部影片包含了《直至胜利》一片的部分片段，以及有关当代法国社会的影像。戈达尔将两者排列组合在一起，是想捕捉巴勒斯坦革命（彼处）和法国消费社会（此处）两者之间的差距。连接此处“和”彼处的这个连接助词“和”才是本片探索的焦点所在：我们在这里的生活、存在（法国）与那里的斗争（巴勒斯坦）两者之间存在着什么样的关系呢？一个电影工作者又如何创造出能够衔接二者的声音和影像呢？

In Godard and Gorin's free interpretation of the Chicago Eight trial, Judge Hoffman becomes Judge Himmler (who doodles notes on Playboy centerfolds), the Chicago Eight become microcosms of French revolutionary society, and Godard and Gorin play Lenin and Karl Rosa, respectively, discussing politics and how to show them through the cinema.

A series of 41 documentary shorts, directed (without credit) by several famous French filmmakers and each running between two and four minutes. Each "tract" espouses a leftist political viewpoint through the filmed depiction of real-life events, including workers' strikes and the events of Paris in May '68.

Chaque documentaire traite d'un cinéaste, voire d'une école cinématographique (la Nouvelle Vague...), ou d'une question particulière liée au cinéma (Critique et cinéma...). Le choix des réalisateurs, comme les questions abordées sont très empreintes de la vision des Cahiers du cinéma dont André S. Labarthe est l'un des anciens rédacteurs, Janine Bazin étant par ailleurs l'épouse d'André Bazin, fondateur de la revue.
Sur le plan du traitement audiovisuel, les documentaires sont assez hétérogènes et tentent d'ailleurs de s'accorder au style du réalisateur concerné : une caméra portée en plan séquence pour John Cassavetes, une conversation en voiture pour Abbas Kiarostami... D'une manière générale, les documentaires se gardent de comporter une voix-off et cherchent à donner la parole aux réalisateurs, pénétrer son univers, sans forcément recourir à l'interview.
La série démarre en 1964 sur l'ORTF et se poursuit aujourd'hui sur Arte. En 1989, à l'occasion de sa reprise par Arte, la collection est rebaptisée Cinéma, de notre temps.

Description: NY TIMES REVIEW
JEAN-PIERRE GORIN, its French-born director, describes ''Routine Pleasures'' as a film essay about ''America - under-budget and in a shoe box,'' which is accurate as far as it goes.
The film is also a funny, very personal meditation on the activities of a group of model-railroad buffs in Del Mar, Calif., crosscut with random examples of the wit and wisdom of the seminal film critic Manny Farber, two of whose paintings are also examined in detail.
''Routine Pleasures" makes a point of never quite coming to a point. It's a movie that ponders possibilities and then moves on to other possibilities. It examines the vaguely interconnecting obsessions of the model railroaders and those of Mr. Farber, whose appreciation for Hollywood B-movies of the 1930's, especially those that deal with blue-collar workers, predates the ''discovery'' of those films by the Cahiers du Cinema critics in the 1950's and 1960's.
Mr. Gorin is fascinated and amused by the dedication of the model railroaders, a small group of men, age 16 to 70-odd, who meet twice a week in a former airplane hangar where they've constructed an elaborate, small-gauge railroad system.
On Tuesday nights they run their trains - freight and passenger -through delicately reproduced, miniature landscapes, cities and railroad yards, keeping to schedules measured in miniature time. Every six minutes equals an hour on the clocks by which they run their system. Thursday nights are devoted to repairing and refurbishing the rolling stock, the tracks and the scenery, and to trading railroad stories. One of the best of these is about a man whose mysterious, utterly American fate was always to order apple pie in a restaurant that had just run out.
Mr. Farber, who has been a friend to Mr. Gorin ever since the director came here from France in the 1970's, is seen only in still pictures, and as he is reflected in two of his oil paintings, ''Birthplace: Douglas, Ariz.,'' 1979, and ''Have a Chew on Me,'' 1983. Mr. Gorin, however, quotes him at length (and sometimes, because of Mr. Gorin's accent, not all too intelligibly), in attempting to draw parallels between Mr. Farber's ideas on America, art and movies and the railroaders' passion for living out their twice-weekly fantasies.
Scale is one of the themes. ''Life isn't too big a deal,'' Mr. Gorin quotes Mr. Farber as saying, ''and shouldn't be painted as such.'' Mr. Farber's two paintings are filled with representations of specific objects, people and events. The model railroaders' dreams are realized in scaled-down representations of real trains running through real places on real schedules.
''Routine Pleasures'' isn't strong on coherence, but coherence isn't what this sort of film is all about. It's meant to provoke questions rather than to answer them, which effectively deflects all criticism. Possibly far more provocative than this chatty, handsomely photographed essay would have been two separate films - one about the model railroaders and one about Manny Farber. But those two films might have turned out far more routine and far less pleasurable than this one.
''Routine Pleasures'' is Mr. Gorin's second American feature, following his expert 1980 documentary, ''Poto and Cabengo.'' Once known primarily as Jean-Luc Godard's collaborator during his Maoist years (''Tout Va Bien,'' ''Letter to Jane,'' ''Vladimir and Rosa,'' among others), Mr. Gorin is now clearly a film maker with his own style and obsessions, as well as a man with his own sense of humor. Eclectic Essay ROUTINE PLEASURES, directed by Jean-Pierre Gorin; written by Mr. Gorin and Patrick Amos; cinematography by Babette Mangolte; edited by Mr. Gorin, Miss Mangolte and Mr. Amos; produced by ZDF, Institut National de la Communication Audiovisuelle, Channel Four Television, London, and Jean-Pierre Gorin Productions.