Film

Contempt

Godard's masterpiece about a marriage collapsing against the garish backdrop of a Rome film set. Brigitte Bardot and Michel Piccoli's relationship fractures in real time, watched by moneyed producers and self-absorbed filmmakers. A film about cinema itself—its compromises, illusions, and the gulf between art and commerce—that moves with the slow inevitability of tragedy wrapped in colour and beauty.

TMDb rating3.5

Should you watch it?

Watch it if you enjoy films that argue with themselves about art and money, and can happily sink into long, cool-eyed conversations set against Mediterranean light and a Bardot who never quite explains herself.

Skip it if you need brisk momentum, since much of this is people talking in rooms and the lingering pace can feel like waiting for the picture to start.

What it asks of you: A little over an hour and three-quarters, unhurried, with long silences and a mood that stays cool and melancholy rather than racing toward anything.

If you liked this

8½1963

Fellini's simultaneous meditation on filmmaking, male ego, and creative paralysis. Like Contempt, it turns the machinery of cinema into the subject itself, though it's far more baroque and hallucinatory in its execution.

But Three hours of a director's anxieties may feel indulgent if you prefer plot momentum to psychological excavation.

8½ poster

La Notte1961

Antonioni's equally austere examination of a marriage in crisis. Lidia and Giovanni walk through Milan and a hospital, speaking around what's really broken between them. The emotional texture is achingly similar, though Antonioni's Rome is colder.

But Very slow, very Italian. If you're watching for dramatic confrontation, you'll be disappointed—these characters don't resolve anything, they just drift.

La Notte poster

Red Desert1964

Antonioni again, but this time in colour, and that colour is sickly, industrial, wrong. Like Contempt, it uses visual beauty as a kind of cruelty, showing us gorgeous frames of emotional emptiness and contamination.

But Abstract and hermetic. The plot barely exists; what matters is the feeling of dislocation, which isn't for everyone.

Red Desert poster

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The wildcard

Something you would not have found on your own.

Sunset Boulevard1950

Both are about screenwriters trapped in systems that demand they betray their work and themselves. Contempt is Sunset Boulevard after the romance of that decay has evaporated.

Billy Wilder's Hollywood funeral, made more than a decade before Contempt, but the spiritual ancestor of every film about cinema devouring those within it. A screenwriter drowns in an industry built on delusion; Godard watched this and made the delusion itself the subject.

But The Gothic melodrama and the corpse-in-the-pool can feel overwrought compared to Godard's cool detachment. Different eras, different modes of expressing the same corruption.

Sunset Boulevard poster
More like this (5)

Pierrot le Fou1965

Godard in high spirits and primary colours, tracking a man and woman as they abandon society. It shares Contempt's interest in cinema as a language and in how images seduce us, but it's anarchic rather than elegiac.

But Visibly chaotic by design. The narrative breaks apart intentionally; if you need coherence, this will infuriate you.

Pierrot le Fou poster

A Woman Under the Influence1974

Cassavetes watches a marriage fracture and rebuild with raw intensity. Like Contempt, it's about the distance that opens between two people, but it's American chaos rather than European sophistication—more shouting, less style.

But Emotionally exhausting and sometimes hard to watch. The performances are unguarded to the point of discomfort.

A Woman Under the Influence poster

The War of the Roses1989

A pulp thriller about marriage as mutual destruction. Takes Contempt's theme—two people destroying each other—and runs it through melodrama and violence instead of alienation. Different register, same anatomy.

But Schlock. It's interested in the spectacle of a failing marriage, not its quiet tragedy. The tonal whiplash might feel cheap after Godard's restraint.

The War of the Roses poster

The Skin I Live In2011

Both are about men trying to remake women into ideals, and both understand that the failure is not incidental but inevitable. The visual beauty masks possession masquerading as love.

A Spanish psychological thriller about obsession, beauty, and the impossibility of controlling another person. It channels Contempt's visual precision and emotional coldness into a very different genre—but the core is the same: the desire to remake someone in your image, and its destruction.

But A thriller twist late in the film might feel like betrayal if you're expecting sophisticated ambiguity. Also visceral and occasionally gruesome, which Contempt never is.

The Skin I Live In poster

Stalker1979

Both films are about the unbridgeable gap between what we pursue and what we actually want. Both use visual precision to describe spiritual emptiness. Tarkovsky took Godard's theme and made it cosmic rather than matrimonial.

Tarkovsky's three-hour pilgrimage across a mysterious zone in pursuit of a room that grants wishes. Like Contempt, it's about the distance between desire and reality, but through science fiction and metaphysics rather than domestic drama. Same spiritual temperature: beautiful, slow, devastating.

But Glacially paced. The camera dwells on landscape and emptiness. If you watch Contempt for plot, Stalker will feel like punishment.

Stalker poster

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