Film

Godard Mon Amour

Name: Godard Mon Amour
Genre: Drama, Romance, Comedy
Released: 2017
Cast: Louis Garrel, Stacy Martin, Bérénice Bejo, Micha Lescot, Grégory Gadebois

A French romantic comedy about Jean-Luc Godard and actress Anne Wiazemsky's whirlwind 1967 romance during the tumultuous making of *La Chinoise*. It's playful and tender, balancing genuine affection against the chaos of artistic ambition and political fervor. Perfect for anyone curious about how brilliant people love badly.

TMDb rating

3.3

Should you watch it?

Watch it if you enjoy mischievous, talky films about artists who are vain and brilliant at once, and you don't mind a joke that undercuts its own hero.

Skip it if you need a story with clear forward momentum, since this one drifts through scenes of jealousy and sulking and can feel like a sketch stretched across the running time.

What it asks of you: Settle in for just under two hours of brisk, chattering scenes, a shape that stays light and restless, with the mood shifting quickly and your attention on the wordplay.

Not sure? Find tonight's pick in a minute.

If you liked this

The Dreamers2003

Bernardo Bertolucci's sensual, intellectually intoxicating love story set during Paris's 1968 uprising. Like *Godard Mon Amour*, it captures the eroticism of cinema obsession and political idealism colliding in youth.

But It's considerably more explicit and darker in its final movements. Some find Bertolucci's perspective on desire uncomfortable in retrospect.

In the Mood for Love2000

Wong Kar-wai's jewel-box romance about two neighbors discovering their spouses' affair. Visual perfection, unbearable restraint, and the ache of attraction—it has the same bittersweet tenderness about love blooming in impossible circumstances.

But Almost plotless and glacially paced. If you need propulsion, you'll find yourself checking your phone.

La Haine1995

Mathieu Kassovitz's explosive 1995 portrait of young Parisian life under pressure. It captures the same era's revolutionary energy and youthful intensity that pulses through *Godard Mon Amour*, but with crystalline urgency.

But It's formally experimental in ways that demand your brain stay switched on. The tonal shifts can be jarring if you're expecting conventional narrative.

Not sure tonight? Get a pick in a minute, starting from Godard Mon Amour

The wildcard

Something you would not have found on your own.

Persona1966

Both explore whether anyone can truly know another person, or whether love is always a film we're projecting.

Ingmar Bergman's dizzyingly intimate two-character psychodrama about an actress and her nurse. Like *Godard Mon Amour*, it's about the impossible permeability between watching and being watched, performance and authenticity—but takes it into the unconscious.

But It's austere, cryptic, and operates on dream logic. Some viewers find it impenetrable rather than revelatory.

Weekend1967

Godard's own chaotic masterpiece from the exact same year as *Godard Mon Amour*, full of collision, philosophy, and formal audacity. Seeing both back-to-back is like having the inside and outside of a moment at once.

But It's genuinely hostile to viewers seeking comfort. Godard makes you work, and *Weekend* works you hardest of all.

PlayTime1967

Jacques Tati's monumental, comedic masterpiece about navigating modern Paris. Like the film, it's about chaos and human connection, rendered with extraordinary formal precision and unexpected warmth.

But At 2 hours 55 minutes in tiny widescreen vignettes, it requires patience and probably a theatrical setting to land properly.

The Red Shoes1948

Michael Powell's Technicolor fever dream about an obsessed dancer torn between art and love. It understands the intoxication of ambition and the impossible choice between two consuming passions.

But The fantasy sequences are extraordinary but can feel stagey to modern eyes. Some find the romanticism of sacrifice deeply uncomfortable.

A Woman Is a Woman1961

Godard's earlier playful color comedy about desire and marriage, starring Anna Karina. It's lighter than *Godard Mon Amour* but speaks the same language about love as performance and collision.

But The flirtatiousness can feel slight if you're in the mood for something that matters. It's a confection, and some want substance.

Cameraman: The Life and Work of Jack Cardiff2010

Where *Godard Mon Amour* shows romance through the eyes of the director-auteur, this shows it through the eye of the camera—different position on the same intoxication.

A documentary about the legendary cinematographer who made *The Red Shoes* sing in color. It traces how visual obsession shapes lives and relationships, and how the apparatus of cinema becomes inseparable from desire itself.

But It's a technical deep-dive within a portrait. If you don't care how films are *made*, the fascination will elude you.

Cameraman: The Life and Work of Jack Cardiff poster

Violette2013

Both are about young women entangled with male artists whose genius doesn't make them good lovers. One ends in escape; this one insists you watch the escape be complicated and necessary.

Justine Triet's portrait of the alcoholic writer Violette Leduc reclaiming her voice and sexuality after years of erasure. It's tender, funny, and darkly frank about how women survive brilliant men. Entirely different era and register, but the same core truth.

But It's deliberately scruffy and unglamorous. Some find the refusal to aestheticize suffering punishing rather than freeing.