La chinoise (1967)

Calificación de los usuarios:

7.1/10   

Director:

Jean-Luc Godard

Guionista:

Jean-Luc Godard (writer)

Fecha de Lanzamiento:

4 marzo 1968 (USA)

Género:

Comedia | Drama

Plot:

A small group of French students are studying Mao, trying to find out their position in the world and...

Plot Keywords:

Terrorism | Experimental Film | Cult Director | Leninism | Politics

Premios:

1 win & 1 nomination

Comentarios de los usuarios:

Western Youth Policies

Reparto

Anne Wiazemsky	...	Veronique
Jean-Pierre Léaud	...	Guillaume
Juliet Berto	...	Yvonne
Michel Semeniako	...	Henri
Lex De Bruijn	...	Kirilov
Omar Diop	...	Omar
Francis Jeanson	...	Himself
Blandine Jeanson	...	Blandine
Eliane Giovagnoli	...	Son ami

También conocida como:

La chinoise, ou plutôt à la chinoise: Un film en train de se faire
La chinoise (Argentina) (Spain) [es]

Duración:

96 min | Argentina:99 min

País:

France

Idioma:

Francés

Color:

Color (Eastmancolor)

Sonido:

Mono

Clasificación:

Spain:13 | Portugal:M/16 | Argentina:13 | Australia:M | Finland:S | Sweden:11 | UK:AA (original rating) | UK:PG (video rating) (2005) | West Germany:16

Locaciones de Filmación:

Nanterre, Hauts-de-Seine, France

Compañía:

Anouchka Films

Conexiones de Película:

Referenced in Crimes and Misdemeanors (1989)

Banda de Sonido:

Mao Mao

Western Youth Policies

With this film, Godard applies his attention to the awakenings of Maoism and other left wing groupings among the western youth, which became highly dramatic in France and elsewhere just one year later. In this regard, he attempts to press forward an explicit political statement with the story of 5 young students, living together in a commune and studying Mao's bible. In doing so, Godard establishes a very interesting position within commercial cinema - for one thing, by siding with the political line of the Marxism-Leninism, or rather putting its policy up for discussion, for another thing, by giving this film an utterly unspectacular structure which is mostly based on language and reasoning discussions. For long periods, this film has the character of a Brechtian teaching play and does not show the result of thought process, but the fumbling and unsure, often awkward gait of thinking itself between the grueling influences of the exterior environment, politics and history, which Godard quotes as signs and images of pop culture. It's probably not Godard's most engaging film, but it's certainly very intriguing, given the course of history after this film was made.