“... can have a real kick. Prostitution as a subject lends itself to any number of cheap analogies. For Jean-Luc Godard it was a figure of capitalism, for Philip Larkin it shadowed every intimate relationship, since he assumed that men were doomed to pay for their pleasure one way or another. Here it is treated without hysteria or dogma, as only one ...”

“... British rock group Kaiser Chiefs’. The links can be tenuous, to say the least. Jean-Luc Godard gets in for A Bout de souffle. OK, but Weight makes it sound like Summer Holiday with Gitanes and avant-garde haircuts. Alain Delon gets two mentions – one for a Smiths sleeve, the other for being an early scooter adopter. (None for his ...”

“... into submission by LSD and hedonism. Paris’s leading artists and intellectuals praise the camp; Jean-Luc Godard offers to shoot a collaborationist film. The title of the story, ‘I Am a Young Man Alone’, expressed its author’s predicament. Two decades after the end of the war, at the height of its trente glorieuses, France had moved on, but ...”

“... first met the Cahiers du cinéma boys: Claude Chabrol, Jean-Claude Brialy, François Truffaut, Jean-Luc Godard and Éric Rohmer. They spoke in a dense web of cinematic references that made Varda feel like ‘an anomaly’.Without proper distribution, La Pointe Courte could only be screened privately but there were a handful of favourable reviews and ...”

“... Dionysus and Pan, with their none hipper retinue: Kenneth Anger, Christopher Gibbs, Gram Parsons, Jean-Luc Godard. The Beatles grew sheepdog hair and Bakunin beards, and adopted the statutory exotic guru, but they never really had anything like the Stones’ sullen, dandified grandeur. The Stones were exquisites; the Beatles were Everyman. It’s the ...”

“... Rohmer’s work has never been especially cool or iconic, yet more than François Truffaut’s or Jean-Luc Godard’s it divides audiences right down the middle. Those who like his films are often protective and passionate and have seen them all; those who don’t complain of boredom and pointlessness. The complaints are partly a result of the subject ...”

“... At the age​ of fifteen, Chantal Akerman sneaked into a screening of Jean-Luc Godard’s Pierrot le fou. She was in the habit of skipping school with her friends and the cinema was one of their preferred hangout spots. But until that moment, Akerman had thought of it as a place for flirting and kissing, which were ‘the same thing as dancing ...”