Editing Jean-Luc Godard (section)

=== Anouchka Films ===
In 1964, Godard and Karina formed a production company, Anouchka Films.<ref>Sterritt 1998, p. xvii</ref> He directed [[Bande à part (film)| ''Bande à part'']] (''Band of Outsiders''), also starring Karina and described by Godard as "''[[Alice in Wonderland]]'' meets [[Franz Kafka]]."<ref name=boo>{{cite book |last1=Katz |first1=Ephraim |title=The Film Encyclopedia |date=1979 |publisher=Crowell |isbn=9780690012040 |page=488 |url=https://books.google.com/books?id=JYnspeARJpwC |access-date=22 March 2023 |archive-date=26 March 2023 |archive-url=https://web.archive.org/web/20230326164813/https://books.google.com/books?id=JYnspeARJpwC |url-status=live }}</ref> It follows two young men, looking to score on a heist, who both fall in love with Karina, and quotes from several [[gangster film]] conventions.<ref>{{Cite web |title=Band of Outsiders |url=https://www.boxofficemojo.com/title/tt0057869/ |access-date=13 September 2022 |website=Box Office Mojo |archive-date=14 September 2022 |archive-url=https://web.archive.org/web/20220914004326/https://www.boxofficemojo.com/title/tt0057869/ |url-status=live }}</ref><ref name=boo/> While promoting the film, Godard wrote that according to [[D. W. Griffith]], all one needs to make a film is "a girl and a gun."<ref>{{Cite magazine |date=17 April 2012 |title=Shooting Movies |url=https://www.newyorker.com/culture/richard-brody/shooting-movies |access-date=14 September 2022 |magazine=[[The New Yorker]] |language=en-US |archive-date=14 September 2022 |archive-url=https://web.archive.org/web/20220914044500/https://www.newyorker.com/culture/richard-brody/shooting-movies |url-status=live }}</ref>

''[[A Married Woman| Une femme mariée]]'' (''A Married Woman'', 1964) followed ''Band of Outsiders''. It was a slow, deliberate, toned-down black-and-white picture without a real story. The film was shot in four weeks<ref>[[Luc Moullet]], ''Masters of Cinema'' No. 4, booklet p. 10.</ref> and was "an explicitly and stringently modernist film". It showed Godard's "engagement with the most advanced thinking of the day, as expressed in the work of [[Claude Lévi-Strauss]] and [[Roland Barthes]]" and its fragmentation and abstraction reflected also "his loss of faith in the familiar [[Hollywood (film industry)|Hollywood]] styles."{{sfn|Brody|2008|pp=190–191}}

In 1965, Godard directed [[Alphaville (film)|''Alphaville'']], a futuristic blend of [[science fiction]], [[film noir]] and satire.<ref>{{cite book |last1=Meehan |first1=Paul |title=The Fusion of Science Fiction and Film Noir |date=2015 |publisher=McFarland |page=126 |isbn=9781476609737 |url=https://books.google.com/books?id=RBFeCgAAQBAJ |access-date=22 March 2023 |archive-date=26 March 2023 |archive-url=https://web.archive.org/web/20230326164813/https://books.google.com/books?id=RBFeCgAAQBAJ |url-status=live }}</ref> [[Eddie Constantine]] starred as [[Lemmy Caution]], a detective who is sent into a city controlled by a giant computer named Alpha 60. His mission is to make contact with Professor von Braun ([[Howard Vernon]]), a famous scientist who has fallen mysteriously silent, and is believed to be suppressed by the computer.<ref>{{cite news|url=https://www.ft.com/content/addeb444-8d6c-4450-9c1e-b6c8a8f60c93?shareType=nongift|title=The FT Alphaville genesis story|newspaper=[[Financial Times]] |date=15 September 2022|access-date=16 September 2022|archive-date=16 September 2022|archive-url=https://web.archive.org/web/20220916141729/https://www.ft.com/content/addeb444-8d6c-4450-9c1e-b6c8a8f60c93?shareType=nongift|url-status=live}}</ref><ref>{{Cite web |title=Alphaville |url=https://www.boxofficemojo.com/title/tt0058898/ |access-date=13 September 2022 |website=Box Office Mojo |archive-date=14 September 2022 |archive-url=https://web.archive.org/web/20220914004313/https://www.boxofficemojo.com/title/tt0058898/ |url-status=live }}</ref> His next film was ''[[Pierrot le Fou]]'' (1965). [[Gilles Jacob]], an author, critic and president of the [[Cannes Film Festival]], called it both a "retrospective" and recapitulation.<ref>{{cite web |last1=Galbraith IV |first1=Stuart |title=Pierrot Le Fou – Criterion Collection |url=https://www.dvdtalk.com/reviews/38457/pierrot-le-fou/ |website=DVDTalk.com |access-date=14 September 2022 |archive-date=14 September 2022 |archive-url=https://web.archive.org/web/20220914223823/https://www.dvdtalk.com/reviews/38457/pierrot-le-fou/ |url-status=live }}</ref> He solicited the participation of Belmondo, by then a famous actor, to guarantee the necessary amount of funding for the expensive film.<ref>{{cite book |last1=MacCabe |first1=Colin |title=Godard: A Portrait of the Artist at Seventy |date=18 February 2014 |publisher=[[Farrar, Straus and Giroux]] |page=174 |isbn=9781466862364 |url=https://books.google.com/books?id=9KqfAgAAQBAJ |access-date=13 September 2022 |archive-date=14 September 2022 |archive-url=https://web.archive.org/web/20220914191305/https://books.google.com/books?id=9KqfAgAAQBAJ |url-status=live }}</ref> Godard said the film was "connected with the violence and loneliness that lie so close to happiness today. It's very much a film about France."<ref>Godard--France's Brilliant Misfit Ardagh, John. Los Angeles Times 17 April 1966: b8.</ref> The film featured American director [[Samuel Fuller]] as himself.

''[[Masculin Féminin]]'' (1966), based on two [[Guy de Maupassant]] stories, ''La Femme de Paul'' and ''Le Signe'', was a study of contemporary French youth and their involvement with cultural politics. An intertitle refers to the characters as "The children of [[Karl Marx|Marx]] and [[Coca-Cola]]." Although Godard's cinema is sometimes thought to depict a wholly masculine point of view, Phillip John Usher has demonstrated how the film, by the way it connects images and disparate events, seems to blur gender lines.<ref>{{Cite journal|last=Usher|first=Phillip John|year=2009|title=De sexe incertain: Masculin Féminin de Godard|url=https://muse.jhu.edu/pub/17/article/371649|journal=French Forum|volume=34|issue=2|pages=97–112|doi=10.1353/frf.0.0089|s2cid=194116472 |issn=1534-1836}}</ref>

Godard followed with ''[[Made in U.S.A (1966 film)|Made in U.S.A]]'' (1966), the source material for which was [[Richard Stark]]'s ''The Jugger''. A classic New Wave crime thriller, it was inspired by American Noir films. Karina stars as the anti-hero searching for her murdered lover and the film includes a cameo by [[Marianne Faithfull]].<ref>{{Cite web |title=Made in U.S.A |url=https://www.boxofficemojo.com/title/tt0060647/ |access-date=13 September 2022 |website=Box Office Mojo |archive-date=14 September 2022 |archive-url=https://web.archive.org/web/20220914004314/https://www.boxofficemojo.com/title/tt0060647/ |url-status=live }}</ref><ref>{{cite web |url=https://movies.nytimes.com/movie/review?res=9D0CEEDB1238E53BBC4051DFBF66838C679EDE |title=Movie Review: ''Made in U.S.A.'' |work=The New York Times |date=28 September 1967 |access-date=23 May 2011 |archive-date=19 March 2024 |archive-url=https://web.archive.org/web/20240319014340/https://www.nytimes.com/1967/09/28/archives/film-festival-2-by-jeanluc-godardmade-in-usa-full-of-imagery-and.html |url-status=live }}</ref> A year later came ''[[Two or Three Things I Know About Her]]'' (1967), in which [[Marina Vlady]] portrays a woman leading a double life as housewife and prostitute, considered to be "among the greatest achievements in filmmaking."<ref>{{cite web |last=Taubin |first=Amy |author-link=Amy Taubin |url=https://www.criterion.com/current/posts/1198-2-or-3-things-i-know-about-her-the-whole-and-its-parts |title=''2 or 3 Things I Know About Her'': The Whole and Its Parts |publisher=[[The Criterion Collection]] |date=21 July 2009 |access-date=14 September 2022 |archive-date=14 September 2022 |archive-url=https://web.archive.org/web/20220914092307/https://www.criterion.com/current/posts/1198-2-or-3-things-i-know-about-her-the-whole-and-its-parts |url-status=live }}</ref>

''[[La Chinoise]]'' (1967) saw Godard at his most politically forthright so far. The film focused on a group of students and engaged with the ideas coming out of the student activist groups in contemporary France. Released just before the [[May 68|May 1968 events]], the film is thought by some to have foreshadowed the student rebellions that took place.<ref>{{Cite web |title=La Chinoise |url=https://www.boxofficemojo.com/title/tt0061473/ |access-date=13 September 2022 |website=Box Office Mojo |archive-date=14 September 2022 |archive-url=https://web.archive.org/web/20220914020157/https://www.boxofficemojo.com/title/tt0061473/ |url-status=live }}</ref><ref>{{cite web|url=https://sbhager.com/la-chinoise/|title=Jean-Luc Godard's La Chinoise and Student Radicalism|date=17 March 2016|publisher=Sbhager|access-date=16 September 2022|archive-date=21 September 2022|archive-url=https://web.archive.org/web/20220921215618/https://sbhager.com/la-chinoise/|url-status=live}}</ref>