Arguably the most famed and prestigious French auteur, Jean-Luc Godard's tenth feature serves as both a distinct reminder of his illustrious back catalogue, and indeed a vivid teaser to his vibrant future. Loosely based on Lionel White's pulp fiction novella Obsession, the New Wave maestro's film follows Jean-Paul Belmondos Ferdinand and Anna Karinas Marianne: he a rakish, unemployed adman choking on consumerist jargon and bourgeois conformity, she a happy-clappy coquette with unspecified links to an underground military faction. Each is an impulsive, alienated soul who finds solace in the others desire for chaos and withdrawal. Infused with Bonnie and Clyde-light framework, Pierrot Le Fou is a cheeky and supremely confident crime-romance that inventively drapes genre pastiche and literary references to deliver a feverish spirit animal that burns with excitably energy. Godard directs with wild-eyed wonder; cramming everything into the mixing bowl and serving up a dense helping of personal and political cinema, and like the very best dishes, the greatest piece arrives last.
Film and UFC obsessive with a passion for scribbling words about them. Avid NFL fan and big Chelsea supporter too.
Film Studies degree graduate from the University of Brighton.
