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Charlotte is a woman in her twenties, married to Pierre, an affluent man in his later thirties or forties. Pierre's passion is flying, and he flies his own private plane, after previously having been an air force pilot. Pierre has a young son, Nicolas, from his first marriage, which dissolved when his wife left him for another man.
James Monaco, The New Wave. Subtitled “ Fragments of a film shot in 1964,” Godard’s A Married Woman is a high-style, free-form exercise in the sociology of contemporary womanhood, centring on 24 hours in the life of Charlotte (Macha Méril), a Parisian woman who divides her affections between her airline-pilot husband (Philippe Leroy) and ...
Apr 13, 2016 · Charlotte’s Web: Godard’s Detailed Fragments of Woman Consumed. Cohen Media Group presents a limited theatrical re-release of Jean-Luc Godard’s 1964 film A Married Woman in a new 2k restoration, one of the auteur’s more comprehensible items during his most prolific, and iconic experimental efforts in the glory days of the Nouvelle Vague.
Summaries. A superifical woman finds conflict choosing between her abusive husband and her vain lover. Charlotte is young and modern, not a hair out of place, superficial, cool; she reads fashion magazines - does she have the perfect bust? She lives in a Paris suburb with her son and her husband Pierre, a pilot. Her lover is Robert, an actor.
Nov 6, 2020 · A Married Woman was initially banned for its frank portrayals of adultery, although the sex scenes consist of nothing more than a long sequence of kisses on Charlotte’s various body parts. But when her husband tells her “Je t’aime”, she looks straight at the camera. Notably, she doesn’t betray any shame. She does the same when she is ...
Sep 25, 2015 · A Married Woman‘s critical portrait of consumer culture still stings, which makes it one of the most relevant of Godard’s 60s films, ... The title character, Charlotte (Macha Meril) is a young ...
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Jul 19, 2016 · Towards the end of A Married Woman, a question is posed—“How far can a woman go in love?” Since Charlotte’s interactions are suggested to be mere superficial stimulations, Godard’s implications are quite subversive since women are left ill-equipped, even with language they speak, to define (or admit) how they feel, thus forced into being tethered to men in unions doomed to imitate ...
