Godard is preparing Anna Karina and Jean-Paul Belmondo for their roles as the main characters… to be able to somehow function in his film “Pierrot Le Fou”. In the picture to the left we see Jean-Luc himself with a shovel burying them in the sand or conversely saving them from there.

Jean-Luc with his wife Anne Wiazemsky enjoy a moment of gentle laughter together that makes it possible for them to feel a bit relaxed.


In Godard’s “Woman is a Woman” Anna Karina and Jean-Paul Belmondo are entertaining one another by trying not to surrender to one another their virtuosity and be on top of their athletic, equilibristic and resilient form.


Karina and Belmondo are not just playing that they’re in love or even loving one another. They’re in love or play loving. No, they’re not playing that they mutually love or are loving. They’re… ready to love – they are ready to love instead of being successful, being tremendous, irresistible, achievers, gun owners without a gun or sharpshooters without sharp shooting. They are incredible without being or trying or wanting to be… incredible. They are… themselves. But their – them-self-ness is so melodic, so gentle and so… human, that everything is and everyone is in love with them, and with their love…


But our Jean-Paul sees through – their love, their absence of love, their exuberance, irresistibility, their naïve cheating and their shy confessions. He sees beyond and through them and around them. And he shows them as they are. And he refrains by leaving them as they are. And when he refrains from them he is… crying. He is loving and hating it. He is loving, hating and crying. And he is creating with them, in anguish and pain, goodness and distress, life and much art.

Godard, Karina and Belmondo – madness? Unbelievable? Irresistible? Cinema. Ci-ne-ma! Jean-Luc. Anna Karina. Jean-Paul.