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Photo of Jean-Pierre Léaud
Photo of Jean-Pierre Léaud

Jean-Pierre Léaud

“The strongest moments in my life are when I’m filming. It’s an adventure. As an actor I try to seduce someone, try to share something. The rest of my time is spent exploring experiences with women.”

Available to Watch

    LA CHINOISE

    Jean-Luc Godard France, 1967

    It’s time for a revolution! Inaugurating New Wave icon Jean-Luc Godard’s overtly political cinema, La chinoise is both prelude and prophecy of May ’68. A molotov cocktail of raw Maoism, pop colors, savage satire, and the romantic timelessness of Anne Wiazemsky and Jean-Pierre Léaud.

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    LE GAI SAVOIR

    Jean-Luc Godard France, 1969

    Between 1960 and 1969, Godard made 17(!) features in a great burst of radical creativity. Le gai savoir, his final film of the 60s, is a work of pared-down invention and subversive pop montage, in which two beguiling icons of the New Wave (Jean-Pierre Léaud and Juliet Berto) take center stage.

    OUT 1, NOLI ME TANGERE - EPISODES 1 & 2

    Jacques Rivette France, 1971

    Here it is: the “Holy Grail of cinephilia!” One of the most enthralling cinematic experiences of all time, Jacques Rivette’s elusive 13-hour masterpiece Out 1 was originally conceived as a series. The film version consists of 8 feature-length episodes, and it all begins right here. Get ready…

    OUT 1, NOLI ME TANGERE - EPISODES 7 & 8

    Jacques Rivette France, 1971

    Even Out 1 has an end! Rivette’s mammoth film ironically fell into obscurity after its premiere, remaining invisible for decades. It’s been a long-time dream of ours to present this ghostly pinnacle of the French New Wave in its entirety—a prodigiously playful new kind of epic. Happy binge-watching.

    OUT 1, NOLI ME TANGERE - EPISODES 3 & 4

    Jacques Rivette France, 1971

    The show must go on! We get deeper into the mysterious wonders of this impossible object, a monumental work that resists pigeonholing as much as it defies storytelling, whose plot seems to be shaped as a hidden secret. In Rivette’s words: “the film swallows everything up and finally auto-destructs”.

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