Jean-Pierre Gorin

Jean-Luc Godard is synonymous with cinema. With the release of Breathless in 1960, he established himself overnight as a cinematic rebel and symbol for the era's progressive and anti-war youth. Sixty-two years and 140 films later, Godard is among the most renowned artists of all time, taught in every film school yet still shrouded in mystery. One of the founders of the French New Wave, political agitator, revolutionary misanthrope, film theorist and critic, the list of his descriptors goes on and on. Godard Cinema offers an opportunity for film lovers to look back at his career and the subjects and themes that obsessed him, while paying tribute to the ineffable essence of the most revered French director of all time.

Jean-Luc Godard's and Jean-Pierre Gorin's interpretation of the Chicago Eight / Chicago Seven trial, which followed the 1968 Democratic National Convention protest activities. Judge Hoffman becomes the character Judge Himmler (played by Ernest Menzer) and the defendants become a microcosms of the French Revolution.

This distinctly personal journey into the artistic possibilities of independent film is not to be missed. Jonas Mekas, Jean-Pierre Gorin, Robert Kramer and many other visionaries and mavericks of the silver screen – as well as a book seller, a critic and a psychoanalyst – discuss what cinema has meant to them, what it is and what it could be and, implicitly, how it has changed over the 18 years in which this film was shot. Director Boris Lehman leads the charge, drawing in moments of absurdist humour and inventive camera work; he keeps things raw and spontaneous. His encounters with the now much-missed Jean Rouch and Stephen Dwoskin are particularly touching and stand testament to their personal playfulness and candour. An engaging, absorbing, epic odyssey of a movie.

The film's subject is a photograph of Jane Fonda visiting Hanoi during the Vietnam War. It asks what the position of the intellectual should be in the class struggle and points out the irony of Jane Fonda's participation in the photo shoot, which was staged.

Jean-Pierre Gorin interacts with a club of model railroad train enthusiasts and his mentor, artist/writer Manny Farber.

Documentary by Jean-Pierre Gorin about twin girls who spontaneously developed their own unique language as children.

Documentary on "Antonio das Mortes", Glauber Rocha's 1969 film.

Godard to come to the University California, San Diego to give a lecture. He stayed at our house at the beach. Some filmmakers and creatives came to visit him. They all stayed at our house on the beach. Guests were Heiner Müller, Wim Wenders, Martin Milner, Jim Mc Bride, Tom Luddy and other.

Spring 1970: Godard and Gorin, on the road, visiting colleges, speaking with Andrew Sarris, and explaining, through illustrated notebooks, their newest Dziga Vertov Group project, a film on Palestine.

Jean-Pierre Gorin, encore un effort pour être cinématonné is a fake Cinématon. It is not part of the Cinématon anthology and is therefore relegated to the category of Cinématons outside the collection.

Jean-Luc Godard's and Jean-Pierre Gorin's interpretation of the Chicago Eight / Chicago Seven trial, which followed the 1968 Democratic National Convention protest activities. Judge Hoffman becomes the character Judge Himmler (played by Ernest Menzer) and the defendants become a microcosms of the French Revolution.

Jean-Luc Godard's and Jean-Pierre Gorin's interpretation of the Chicago Eight / Chicago Seven trial, which followed the 1968 Democratic National Convention protest activities. Judge Hoffman becomes the character Judge Himmler (played by Ernest Menzer) and the defendants become a microcosms of the French Revolution.

Jean-Luc Godard's and Jean-Pierre Gorin's interpretation of the Chicago Eight / Chicago Seven trial, which followed the 1968 Democratic National Convention protest activities. Judge Hoffman becomes the character Judge Himmler (played by Ernest Menzer) and the defendants become a microcosms of the French Revolution.

Here and Elsewhere takes its name from the contrasting footage it shows of the fedayeen and of a French family watching television at home. Originally shot by the Dziga Vertov Group as a film on Palestinian freedom fighters, Godard later reworked the material alongside Anne-Marie Miéville.

A strike at a French sausage factory contributes to the estrangement of a married filmmaker and his reporter wife.

A strike at a French sausage factory contributes to the estrangement of a married filmmaker and his reporter wife.

The film's subject is a photograph of Jane Fonda visiting Hanoi during the Vietnam War. It asks what the position of the intellectual should be in the class struggle and points out the irony of Jane Fonda's participation in the photo shoot, which was staged.

The film's subject is a photograph of Jane Fonda visiting Hanoi during the Vietnam War. It asks what the position of the intellectual should be in the class struggle and points out the irony of Jane Fonda's participation in the photo shoot, which was staged.

Jean-Pierre Gorin filmed the rehearsals and premiere of Saint Francis, Olivier Messiaen's monumental opera directed for the Salzburg Music Festival by the American wunderkind Peter Sellars. The result was a first-person documentary in the form of a letter.

Jean-Pierre Gorin filmed the rehearsals and premiere of Saint Francis, Olivier Messiaen's monumental opera directed for the Salzburg Music Festival by the American wunderkind Peter Sellars. The result was a first-person documentary in the form of a letter.

A politically oriented film in which images suggestive of a mock western are accompanied by an attack on all cinematic conventions to date and a debate on the nature and possibility of revolutionary cinema.

A politically oriented film in which images suggestive of a mock western are accompanied by an attack on all cinematic conventions to date and a debate on the nature and possibility of revolutionary cinema.

A politically oriented film in which images suggestive of a mock western are accompanied by an attack on all cinematic conventions to date and a debate on the nature and possibility of revolutionary cinema.

Jean-Pierre Gorin’s gripping and unique film about a Samoan street gang in Long Beach, California, is, like other works by the filmmaker, a probing look at a closed community with its own rules, rituals, and language. Part observational documentary, part fiction invisibly scripted and shaped by the director, My Crasy Life, which won a special jury prize at Sundance, is an enthralling and intensely focused contemplation of violence and dislocation.

Jean-Pierre Gorin interacts with a club of model railroad train enthusiasts and his mentor, artist/writer Manny Farber.

Jean-Pierre Gorin interacts with a club of model railroad train enthusiasts and his mentor, artist/writer Manny Farber.

San Diego, California, 2004. Two roommates in war time. Right in the middle of George Bush's re-election. YouTube doesn’t exist yet, but people are starting to place ads for themselves on Facebook. The iPhone will soon be on the scene and more and more people will be coming round to the reality of ‘I iPod, therefore I am’. Whatever happened to the grandchildren of ‘the Marx and Coca-Cola generation’? This isn't a remake of Masculin Feminin, but a remix.

Documentary by Jean-Pierre Gorin about twin girls who spontaneously developed their own unique language as children.

Documentary by Jean-Pierre Gorin about twin girls who spontaneously developed their own unique language as children.

Documentary by Jean-Pierre Gorin about twin girls who spontaneously developed their own unique language as children.

A series of 43 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.

The film reveals how and why a supposedly revolutionary Italian girl has in fact fallen prey to bourgeois ideology.

The film reveals how and why a supposedly revolutionary Italian girl has in fact fallen prey to bourgeois ideology.