Jules Berry

In Le Livre d’Image, Jean-Luc Godard recycles existing images (films, documentaries, paintings, television archives, etc.), quotes excerpts from books, uses fragments of music. The driving force is poetic rhyme, the association or opposition of ideas, the aesthetic spark through editing, the keystone. The author performs the work of a sculptor. The hand, for this, is essential. He praises it at the start. “There are the five fingers. The five senses. The five parts of the world (…). The true condition of man is to think with his hands. Jean-Luc Godard composes a dazzling syncopation of sequences, the surge of which evokes the violence of the flows of our contemporary screens, taken to a level of incandescence rarely achieved. Crowned at Cannes, the last Godard is a shock film, with twilight beauty.

After committing a murder, a man locks himself in his apartment and recollects the events that led him to the killing.

At the end of the 15th century, a man and a woman, posing as traveling minstrels, are sent by the Devil to a castle to seduce its inhabitants.

Mild-mannered novelist of Western fiction, Amédée Lange, and his colleagues take over a publishing house after their exploitative boss disappears, only for the superior to return and try to reclaim the profits from their successful cooperative.

A group of policemen look over three murder cases including a cutthroat that prays on young women, a madman that hid his deformed landlord's corpse in the floor, and a wine aficionado who buries his friend alive.

A circus daredevil is the next victim of a danger-seducing woman who tricks him into a potentially deadly stunt after he attempted to kill her.

A rich banker is actually a crook. His mistress, an alien, wants to become French and the only way is to marry a Frenchman.

Adapted from the novel L'Argent by Émile Zola, the film portrays the world of banking and the stock market in Paris in the 1920s.