In January 2017, Jean-Baptiste Thoret and Nicole Brenez travelled to Rolle to meet Jean-Luc Godard, then 86 years old, at his home. This long, open conversation later became the basis for 86 printemps, Jean-Luc Godard, a film that, for years, could not be released due to rights issues. On 3 January, Thoret released the film for free on YouTube, for an unspecified period of time. “Une manière comme une autre de commencer l’année” [one way or another to begin the year], he wrote on Facebook.

第67届戛纳国际电影节于2014年5月14日开幕。2014年5月24日第67届戛纳国际电影节闭幕式以及颁奖典礼在电影宫卢米埃尔大厅举行。 该届电影节的最佳影片金棕榈奖由土耳其导演努里·比格·锡兰指导的《冬眠》获得；评委会大奖授予了意大利女导演爱丽丝·洛瓦赫的《奇迹》；蒂莫西·斯波凭借在《透纳先生》获得最佳男演员奖；朱丽安·摩尔获得了最佳女演员奖。
尽管本届戛纳电影节上并未有中国影片获奖，但在为期11天的电影节期间，有关中国电影、中国电影人们的精彩表现和新闻始终是不绝于耳。无论是香港导演吴宇森的《太平轮》、内地导演张艺谋的《归来》和姜文的《一步之遥》，华语年度大片都十分抢眼地占据了电影节场刊的首页封面。在电影市场中，在2014年中国动漫电影也大规模亮相戛纳。而在电影节期间还举办了中法电影人交流会，包括备受瞩目的中法合拍片《狼图腾》等在内的多部中法合拍片的工作也将在2014年中陆续展开。可以说，今年的戛纳电影节是中国元素随处可见、大放异彩的一届。

A short film utilizing Google Maps' StreetView feature where Jean-Luc Godard and Anne-Marie Miéville are captured walking the streets of Switzerland. Set to music from Godard's film "Contempt" composed by Georges Delerue.

Jean-Luc Godard observe la journée de deux enfants d'une dizaine d'années, un petit garçon et une petite fille, pour s'interroger sur la réalité, sur les mots, sur les images, et aussi sur la télévision. Au cours de chaque émission, composée de rubriques variées à la manière d'un magazine, Jean-Luc Godard établit des allers et retours: entre l'école et la famille, entre les loisirs et le travail, entre le sommeil et le réveil, tels que les enfants les perçoivent et les racontent en réponse à des questions qui les surprennent. D'autres allers et retours suivent: entre les choses et le langage, entre les apparences et ce qu'elles cachent, entre les enfants et les adultes...

In October 2021, Jean-Luc Godard presented his idea for Scénarios, a 34' film combining still and moving images, halfway between reading and seeing.

Scénarios, which was literally completed by Jean-Luc Godard the day before his self-death, is twofold: DNA, fundamental elements, and MRI, Odyssey. Between these two polarities, which evoke genesis and decline in a strictly materialistic way, a story unfolds, made up of a jumble of notes and images, condensed into 18 minutes. It is a narrative haunted by death, as this film is also a farewell.

In Little Godard. To the Production Board for Young German Film, Hamburg’s experimental filmmaker Hellmuth Costard used a Super 8 film system he developed himself that allowed for numerous Super 8 cameras to be synchronised to each other during filming. “Power to Super 8!” was the cry before video cameras became ubiquitous, a low-cost solution for amateurs and even independent professional filmmakers. The content of the film is bookended by an application for a subsidy in which Costard formulates his objection to using the screenplay to evaluate a potential film project…

Godard and Miéville's 1992 contribution to a series of cigarette ads directed by prestigious filmmakers.

Jean-Luc Godard is synonymous with cinema. With the release of Breathless in 1960, he established himself overnight as a cinematic rebel and symbol for the era's progressive and anti-war youth. Sixty-two years and 140 films later, Godard is among the most renowned artists of all time, taught in every film school yet still shrouded in mystery. One of the founders of the French New Wave, political agitator, revolutionary misanthrope, film theorist and critic, the list of his descriptors goes on and on. Godard Cinema offers an opportunity for film lovers to look back at his career and the subjects and themes that obsessed him, while paying tribute to the ineffable essence of the most revered French director of all time.

“JLG is like a sun, as soon as you get too close to it, you burn. If you ignore it, you miss the light.” Respected Swiss director Thomas Imbach on the “God of Cinema” who, as both man and filmmaker, has kept him spellbound his whole life. Chancing upon images of the ailing grand master, he was inspired to set off on foot on a pilgrimage from Lakes Zurich to Geneva to pay tribute to Godard and to attempt to persuade the latter to film with him. An original and playful diary filmed on an iPhone and on 35mm during the trip, where loyal pilgrim Imbach looks back at his own career and conducts a dialogue with his magnetic role model. A road movie conceived – literally, “on his own two feet” – as an informed Godard masterclass about perceiving the world through cinema and much else besides.
源自：

Godard by Godard is an archival self-portrait of Jean-Luc Godard. It retraces the unique and unheard-of path, made up of sudden detours and dramatic returns, of a filmmaker who never looks back on his past, never makes the same film twice, and tirelessly pursues his research, in a truly inexhaustible diversity of inspiration. Through Godard’s words, his gaze and his work, the film tells the story of a life of cinema; that of a man who will always demand a lot of himself and his art, to the point of merging with it.

"Announcing itself as “a typical Pennebaker production of a typical Godard visit,” JLG speaks with grad students and Serge Losique at NYU in April 1968. Pennebaker: “When Jean-Luc Godard came to New York to make a film [1 A.M./1 P.M.] with me and Ricky Leacock, he was anxious to see America before the revolution broke out, torn up as it was with the Vietnam furor. Godard’s most recent film, La Chinoise, was playing, and Columbia University students, who had initiated their student uprising on the day the film opened, were pouring into the theater. This to our unexpected delight, for when Godard had arranged for us to distribute the film, we had done so with misgiving since his films were not normally known to fill theaters. So as we laughed at his sly remarks, it occurred to us that there were two audiences involved here, and maybe that our film should be about that. It might also be noted that the date of the filming, April 4, 1968, was the day Martin Luther King Jr. was killed. Of course, none of us in the room knew about that then."

1963 film directed by Pierre Gaspard-Huit

In 1959, an unforgettable boy did "the four hundred tricks" in front of the camera of a beginner named François Truffaut and splashed with his success, popular and Cannes, the filmography of a nascent band of intrepid. Claude Chabrol's "Le Beau Serge", Jean-Luc Godard's "A bout de souffle", Jacques Rivette's "Paris nous appartient", Eric Rohmer's "Le Signe du lion", Jacques Rozier's "Adieu Philippine", Agnès Varda's "Cléo de 5 à 7"...: This wave, quickly named "New Wave" - an expression invented by Françoise Giroud in an article dedicated to youth - is the work of apprentice directors who, for many, have swallowed kilometers of film at Henri Langlois' Cinémathèque française and sharpened their judgment in the columns of Cahiers du cinéma.

A Saint Laurent by Anthony Vaccarello and Vixens production, in coproduction with L’Atelier.
Jean-Luc Godard often transformed his synopses into aesthetic programs. Drôles de guerres follows in this tradition and will remain as the ultimate gesture of cinema, which he accompanies with the following text: “No longer trusting the billions of diktats of the alphabet to give back their freedom to the incessant metamorphoses and metaphors of a true language by returning to the places of past shootings, while taking into account the present stories.”

A tribute to the actress Anna Karina (1940–2019) that picks up from her performance in Jean-Luc Godard’s My Life to Live (1962), the film that—back in 1982—would inspire the director Carlos Adriano to make (think, and live) movies. Editing began on sem título # 8 in 2016 and was completed in 2021. It unwittingly foreshadowed the symptoms of the Coronavirus pandemic (among other viruses). The film is part of the series Notes for an AutoCineBiography (in Regression).