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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.

When Marie St. Clair believes she has been jilted by her artist fiance Jean, she decides to leave for Paris on her own. After spending a year in the city as a mistress of the wealthy Pierre Revel, she is reunited with Jean by chance. This leaves her with the choice between a glamorous life in Paris, and the true love she left behind.

A retired San Francisco detective suffering from acrophobia investigates the strange activities of an old friend's wife, all the while becoming dangerously obsessed with her.

Young and disenchanted Sam meets a mysterious and beautiful woman who's swimming in his building's pool one night. When she suddenly vanishes the next morning, Sam embarks on a surreal quest across Los Angeles to decode the secret behind her disappearance, leading him into the murkiest depths of mystery, scandal and conspiracy.

Offbeat documentarian Chris Smith provides a behind-the-scenes look at how Jim Carrey adopted the persona of idiosyncratic comedian Andy Kaufman on the set of Man on the Moon.

A film projectionist longs to be a detective, and puts his meager skills to work when he is framed by a rival for stealing his girlfriend's father's pocketwatch.

A bohemian artist travels from London to Italy with his estranged son to sell the house they inherited from his late wife.

Nothing is as it seems when a woman experiencing misgivings about her new boyfriend joins him on a road trip to meet his parents at their remote farm.

When the mysterious woman in the room next door disappears, a debonair 70-year-old ex-spy living in a luxury hotel on the Côte d'Azur is confronted by the demons and darlings of a lurid past in which moviemaking, memories and madness collide.

When an unsuspecting woman stops at a remote gas station in the dead of night, she's made the plaything of a sociopath sniper with a secret vendetta. To survive, she must not only dodge his bullets and fight for her life, but also figure out who wants her dead and why.

In Manhattan's Central Park, a film crew directed by William Greaves is shooting a screen test with various pairs of actors. It's a confrontation between a couple: he demands to know what's wrong, she challenges his sexual orientation. Cameras shoot the exchange, and another camera records Greaves and his crew. Sometimes we watch the crew discussing this scene, its language, and the process of making a movie. Is there such a thing as natural language? Are all things related to sex? The camera records distractions - a woman rides horseback past them; a garrulous homeless vet who sleeps in the park chats them up. What's the nature of making a movie?

A hypochondriac vacations in the tropics for the fresh air - and finds himself in the middle of a revolution instead.