Synopsis
A look at the sexual and professional lives of three people — a television director, his ex-girlfriend, and a sex worker.
' ].join(''); if ( adsScript && adsScript === 'bandsintown' && adsPlatforms && ((window.isIOS && adsPlatforms.indexOf("iOS") >= 0) || (window.isAndroid && adsPlatforms.indexOf("Android") >= 0)) && adsLocations && adsMode && ( (adsMode === 'include' && adsLocations.indexOf(window.adsLocation) >= 0) || (adsMode === 'exclude' && adsLocations.indexOf(window.adsLocation) == -1) ) ) { var opts = { artist: "", song: "", adunit_id: 100005950, div_id: "cf_async_c8d3e7a8-e7b5-4e33-9dbc-305af9234ea3" }; adUnit.id = opts.div_id; if (target) { target.insertAdjacentElement('beforeend', adUnit); } else { tag.insertAdjacentElement('afterend', adUnit); } var c=function(){cf.showAsyncAd(opts)};if(typeof window.cf !== 'undefined')c();else{cf_async=!0;var r=document.createElement("script"),s=document.getElementsByTagName("script")[0];r.async=!0;r.src="//srv.tunefindforfans.com/fruits/apricots.js";r.readyState?r.onreadystatechange=function(){if("loaded"==r.readyState||"complete"==r.readyState)r.onreadystatechange=null,c()}:r.onload=c;s.parentNode.insertBefore(r,s)}; } else { adUnit.id = 'pw-c8d3e7a8-e7b5-4e33-9dbc-305af9234ea3'; adUnit.className = 'pw-div'; adUnit.setAttribute('data-pw-' + (renderMobile ? 'mobi' : 'desk'), 'sky_btf'); if (target) { target.insertAdjacentElement('beforeend', adUnit); } else { tag.insertAdjacentElement('afterend', adUnit); } window.addEventListener('DOMContentLoaded', (event) => { adUnit.insertAdjacentHTML('afterend', kicker); window.ramp.que.push(function () { window.ramp.addTag('pw-c8d3e7a8-e7b5-4e33-9dbc-305af9234ea3'); }); }, { once: true }); } } tag.remove(); })(document.getElementById('script-c8d3e7a8-e7b5-4e33-9dbc-305af9234ea3'));
Every Man for Himself
Cast
Isabelle Huppert Jacques Dutronc Nathalie Baye Roland Amstutz Cécile Tanner Anna Baldaccini Roger Jendly Fred Personne Michel Cassagne Nicole Jacquet Paule Muret Dore de Rosa Catherine Freiburghaus Monique Barscha Edmond Vullioud Bernard Cazassus Serge Maillard Erik Desfosses Marie-Luce Felber Irène Floersheim Georgiana Eaton Nicole Wicht Guy Lavoro Claude Champion Michèle Gleizer Gérald Battiaz Maurice Buffat Angelo Napoli Michel Moulin
Director
Producers
Writers
Editors
Cinematography
Executive Producer
Art Direction
Composer
Studios
Countries
Primary Language
Spoken Languages
Alternative Titles
Slow Motion, Salve-se quem puder, Salve quien pueda, la vida, Si salvi chi può... la vita, Ratuj sie kto moze (zycie), Pelastukoon ken voi, Que se salve quien pueda (La Vida), Si salvi chi può (la vita), Rette sich, wer kann (das Leben), 各自逃生, Salve-se Quem Puder, Спасай, кто может (свою жизнь), Всеки за себе си, Ratuj kto może (życie), Salvează pe cine poți (viața), 할 수 있는 자가 구하라 - 인생, Salve-se Quem Puder (a Vida), 勝手に逃げろ/人生
Genre
Releases by Date
Premiere
-
France
Cannes Film Festival
01 Sep 1980
-
USA
Telluride Film Festival
08 Oct 1980
-
USA
New York Film Festival
Theatrical limited
12 Oct 1980
-
USA
Theatrical
08 Sep 1980
-
Austria12
-
Canada
15 Oct 1980
-
France12
Releases by Country
Austria
08 Sep 1980
- Theatrical12
Canada
08 Sep 1980
- Theatrical
France
22 May 1980
- Premiere Cannes Film Festival
15 Oct 1980
- Theatrical12 Visa CNC 51430
USA
01 Sep 1980
- Premiere Telluride Film Festival
08 Oct 1980
- Premiere New York Film Festival
12 Oct 1980
- Theatrical limited
Popular reviews
More-
It's not just that there's a self-awareness here that Godard is rarely interested in pursuing, but a remarkably observant depiction of systematic abuses both from that system itself and how it translates into basic interpersonal relationships which makes me wonder if this might be Godard's best film. As JLG mentioned on Dick Cavett in 1980, the more accurate translation of the films title is probably "Save Your Ass," - the official English title does not note that this is about two genders, not one. Anyways, I wonder if the perceptivity here comes from being the first movie after Godard's most radical (and in my opinion, possibly his richest and most interesting) and is his return to "the world," "the mainstream,"…
-
In 1973, Jean-Luc Godard criticized Francois Truffaut for sanitizing his life in the semiautobiographical Day for Night. Seven years later, in Godard's big comeback film, one of the central characters is a filmmaker in a professional and personal impasse who occasionally expresses incestuous/pedophilic thoughts. The character's name is Paul Godard. Gotta hand it to ol' Jean-Luc -- he sure puts it on the line.
-
Jean-Luc Godard's return to commercial filmmaking opens with a scene in which a hotel bellboy crudely begs filmmaker "Paul Godard" (Jacques Dutronc) to fuck him in the ass, and later includes a scene in which Paul fantasizes about having sex with his own daughter. It may have been his comeback, but it's not Breathless.
The story follows three characters: Paul, his estranged girlfriend Denise (Nathalie Baye), and Isabelle (Isabelle Huppert), a sex worker who picks him up one night. All three are seeking some kind of freedom, but are in a rut. Nobody ever cracks a smile because everyone is steeling themselves for the constant indignities of life under capitalism, especially Isabelle, whose body is treated like the cattle we…
-
Jean-Luc Godard is reborn as a filmmaker through the sacred act of self-desecration. Some might call it sacrifice, but Godard himself… likely would prefer to stick with desecration.
“Every Man for Himself” is what the New Wave icon once deemed his “second first film.” Following the dismissal of Godard’s crew and narrative filmmaking after “Week end,” the director’s series of non linear essay works eventually led to his joining the Dziga Vertov Group. The collaboration was made up of documentarians who sought to use cinema’s basic elemental constructs for a deliberately incomprehensible end. Godard would later call what he made for the group “not really films.”
Returning from video to 35mm with “Every Man,” Godard brings with him the lessons he…
-
Interpersonal capitalism. The great thing about this is that none of its relationships exist, or even really function at all, separate from a larger dialectic. Godard slows down the footage to individual frames, sort of indicating unseen stories that make up or occur in between them, and even a shot of a guy parking his car has a train hauling tanks in the background.
-
Godard's crudely sexual metafiction (starring Jacques Dutronc as a director named Paul Godard) seems to be prototypical of latter day Godard, a mishmash of ideas and images, jumps and narrative juxtapositions, but with a more or less coherent central plot. Notably, he plays around with slow motion, a feature made more prominent by the British title of the film (Slow Motion, naturlich), which is the name under which I eventually found it.
The slow motion is most notable as used for emphasis, not necessarily like it gets used in action films, where it is used to either depict emotional distress or to highlight the speed of the action through contrast. Rather, here it captures relatively low key moments. While it's…
-
terrifying vaporwave godard -- ✧.°˖✧ IT'S THE TUBULAR 80s!!! ✧.°˖✧ -- in which the frozen synths and clear skies and bike rides are made to crawl moment-to-moment in excruciating slow motion, dismantling commercial cinema and the monotony of everyday relationships under neoliberal capitalism; alphaville's mega-computer is superseded by mallsoft music which intrudes at random, making you uncomfortably aware of the malevolent background noise behind otherwise mundane circumstances, the attempt to lull you into a stupor with pleasant-but-meaningless jingles -- godard is one of the few filmmakers who can get away with making a movie that's engaged in autocritique, because i genuinely believe that he hates himself and isn't looking for sympathy or love from the audience -- every man for…
-
People always prate about Godard as this bold, daring formalist, but as I continue to trudge my way through his body of work, I’m realizing that he’s just sloppy, with the shambolic editing and the bloated dialogue from the lips of loathsome Frenchies, his insufferable, unabashed sense of self-importance that seeps through the screen, &c; flaunting for the sake of being different and always challenging “norms” (politcal, cultural or cinematic) without actually ever saying much at all.
I’d hoped things would have changed or at least become more refined here, considering he had two decades of filmmaking now under his belt, but nope, more-or-less same shit, different era, except with this film, he intentionally restrains, not refines, but still just can’t…
-
Isn't it interesting how the passing windows of a moving train look like individual frames of celluloid as they are run through a projector?
-
-
An effective, hilarious sex comedy from Godard. The so-called technical achievements in this, namely those pedantic slow motions, completely flew over my head, but I still quite enjoyed the ingenuity of the script and the never-changing sarcasm from Godard.
Examining the romance/sex lives of several French individuals, the story slowly reveals its magic as the plot thickens. The ugly, inexplicable nature of modern lives is deconstructed in Godard's artificial, provocative world of fetish and surrealism, and even if it doesn't amount to much in the end, the journey is still fun and voyeuristic. It's also nice to see young Isabelle Huppert shining in this intimate tale, and delivering in the best segment of this anthology. Recommended.
-
Generally understood as Godard’s return to the “mainstream” of French cinema, after a decade in weeds exploring a grab-bag of avant-garde, left-wing ideas. It includes multiple extended conversations about ass-eating.
