Streaming: Amazon Prime: Rent/Buy | Apple TV+: Rent/Buy | Vudu: Included Streaming: | HBO Max: Included | Kanopy: Included | Criterion: IncludedĪs Times staff writer Mark Olsen wrote in his 2016 profile of the actor, Anna Karina’s “enigmatic mix of carefree insouciance, emotional transparency and chic style made her a good fit for Godard’s distinctive blend of spontaneity and precision” - and there may be no more formidable example than “Vivre Sa Vie.” Karina, who was married to Godard from 1961 to 1967, had already collaborated twice with the director, on “A Woman Is a Woman” and “Le Petit Soldat,” but it’s as Nana, a woman who abandons her family to pursue a career as an actress and ends up in a seedy world of sex work, that she emerged most forcefully as the “muse” of the New Wave - and exemplified the phrase “tragic beauty.” She also helped prove that Godard’s filmmaking prowess translated to a dramatic register as well as it did comedy or crime. ( Read more) - Kenneth Turan ‘My Life to Live’ (Vivre sa vie) (1962) Godard and his New Wave confederates, such as Francois Truffaut (who wrote the “Breathless” treatment) and Jacques Rivette (who has a wordless cameo as a hit-and-run victim), were frustrated film critics (is there any other kind) who wanted to turn mainstream film upside down.
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