Search: Directed by Jean-Luc Godard

Although it is one of Godard’s cleverest and most rounded attacks on capitalism, the film comes into its own as he questions the nature of reality.

Bande À Part is continuously light and frothy, relishing its own resourcefulness and serving up a stream of delights.

A visually innovative film... Godard has done a masterful job, and his witty script never struggles to hold audience attention.

A dizzying array of original and masterly techniques.

Elusively impenetrable stuff that only loosely can be described as cinema.

A deceptively unassuming and remarkably solid piece of work.

The film is harrowing at times to watch, and Godard, even in this, his second feature, is sacrificing entertainment to art.

One can view it as trite, a Godard cast-off, or one can admire the cinematic poetry, the precision with which it delivers its point and its critique of the institution of marriage.

This film is one of the most rounded of any of Godard’s work and can easily be viewed as ‘mainstream’ – the more philosophical riddles being purely optional.

Notre Musique is one of Godard’s most responsible, articulate and accessible works.

Never shy at innovation, Godard tells his story in a new, deep and meaningful way.

Godard breaks down the barrier between documentary and fiction.

There’s no denying that the film’s polemical message is still relevant today, but it’s an old argument, didactically constructed.

The ‘narrative’ is simply a series of characters and events on which to hang material for various readings, and it is these readings that provide enjoyment.

Although not really a film for any but the most dedicated of Stones fans, Sympathy For The Devil provides intimate insights into their workings as a band.