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Jean-Luc Godard addresses two filmic letters to young Israeli soldiers who were sentenced after refusing to intervene in the occupied territories.

TV commercial (commissioned by Swiss tobacco company F.J. Burrus S.A.) for Parisienne cigarettes.

Director Jean-Luc Godard reflects in this movie about his place in film history, the interaction of film industry and film as art, as well as the act of creating art.

The title of this twenty-minute video by Jean-Luc Godard and Anne-Marie Miéville, “Freedom and Fatherland,” is the official slogan of the Canton de Vaud, in Switzerland, where the filmmakers live and grew up. To fulfill their commission from a Swiss cultural festival, they adapted a great Swiss novel, “Aimé Pache, Painter from the Vaud,” by Charles Ferdinand Ramuz, from 1911 (about a local artist who goes to Paris for his education and then returns home) and extruded its autobiographical analogies to Godard’s own life and work. Using a choice set of clips from Godard’s films to coincide with events from the painter’s life, verbal references to modern times and to Godard’s own—Sartre, the late nineteen-sixties, the cinema—and images of the Swiss terrain, which plays a decisive role in the work of Pache, Godard, and Miéville (an important filmmaker in her own right), they produce the effect of mirrors within mirrors.

Jean-Luc Godard's poetic meditation on war, violence and defeat. The film is structured in three parts. The three segments are "Hell", "Purgatory", and "Heaven". The first segment is a montage of war images from documentary and fictional sources. The second concerns two young Jewish women attending a European arts conference in Sarajevo. The final segment concerns the after life.

For Ever Mozart is an episodic film that follows a theater troupe from France attempting to put on a play in Sarajevo. Along their journey they are captured and held in a POW camp, and they call for help from their friends and relations in France. Director Jean-Luc Godard presents stories about this troop to ask how one can make art while slaughters like the one in Bosnia are taking place, and he throws in a strong critique of the European Union. For Ever Mozart is one of Godard's most disjointed and difficult films. Its stories sometimes seem to form a whole and at other times the links among them are unclear. One gets the impression that in each episode Godard attempts to start a film only to come to the conclusion that it is impossible to continue. It features some of the most beautiful shots of tanks in the cinema.

A reworking of extracts from Andre Malraux, Claude Nuridsany and Marie Perennou, and GK Chesterton.

Nothing but silence. Nothing but a revolutionary song. A story in five chapters like the five fingers of a hand.

Jean-Luc Godard, and Anne-Marie Miéville Four Short Films

The official spot of 22nd Jihlava international documentary film festival, directed by Jean-Luc Godard

Follows Tulse Luper as he is swept into the ill-fortuned tides of the 20th century and forced to spend his life in a succession of imprisonments.

A short film based on the work of choreographer Anne Teresa de Keersmaeker.

"Antwerp" continues telling the picaresque adventures through the world of multi disciplinary artist and professional prisoner Tulse Luper. This movie premiered at the Venice Film Festival as a separate title located between the first and the second part of the Greenanway Tulse Luper Trilogy.

Peter Greenaway discussing a variety of topics, with each segment ranging in length from 6s to 2m47s.

The Tulse Luper Suitcases reconstructs the life of Tulse Luper, a professional writer and project-maker, caught up in a life of prisons. He was born in 1911 in Newport, South Wales and presumably last heard of in 1989. His life is reconstructed from the evidence of 92 suitcases found around the world - 92 being the atomic number of the element Uranium. The project includes three feature films, a TV series, 92 DVDs, CD-ROMs, and books.

The Tulse Luper Suitcases reconstructs the life of Tulse Luper, a professional writer and project-maker, caught up in a life of prisons. He was born in 1911 in Newport, South Wales and presumably last heard of in 1989. His life is reconstructed from the evidence of 92 suitcases found around the world - 92 being the atomic number of the element Uranium. The project includes three feature films, a TV series, 92 DVDs, CD-ROMs, and books.

Between 1795 and 1801, 306 drowned people were recovered from the Seine river, near Paris. Peter Greenaway propouns a historical approach were 25 significant cases of drownings are catalogued, dissected and elaborated, with multilayered visuals and 'documentary' asides.

The 27 year old Romanian sculptor Constantin Brancusi walked from Romania to Paris in 1903 and 1904 as a preparation and prelude to becoming the most important sculptor of the 20th century. Brancusi leaves his small village of Hobitza, south of the Carpathian Mountains and walks through Romania, Hungary, Austria, Germany, Switzerland, and parts of France to arrive in Paris, the metropolis of world culture for the first three decades of the 1900s. He walks in spring, summer, winter and autumn, treading the landscape away from the beaten track, experiencing sights, having adventures, suffering hardships, looking, touching and feeling the world as a preparation of what is to come for him.

A short film which has its emphasis on back street walls with peeling posters and the constant pedestrian traffic in the foreground. It has a static camera positioned in front of the walls; experimental editing techniques, no dialogue-just background music, and quick edits of blackness throughout.

Peter Greenaway remembers his first meeting with Rotterdam Film Festival director Hubert Bals.

Short documentary about football (soccer) supporters in Portugal

Edmund Husserl observed: "All perception is a gamble", which Robert Anton Wilson expands upon when he suggests that "[others] just have a different reality tunnel, and every reality tunnel might tell us something interesting about our world, if we are willing to listen." All seen through the mirror of João Queiroz’s art.

Braga’s Estádio Municipal was erected for the EURO 2004 championships. So can it be a surprise that the first association this all-seater arena provokes is a Roman circus, with a disconcerting Estado Novo-finish? Is FIFA therefore the Quinto Império realized, and its former president Sepp Blatter The Hidden One having an identity crisis?

A kino-investigation about spectatorship, a continuous conversation between different kinds of spectators: which one is more cinema: Citizen Kane on a mobile phone or a football game projected in a cinema theatre? What is the cinema of uncertainty? How many kinds of amazement exist? Does fear and belief precede amazement? What are the rights and duties of the spectator? Is the essay film a manifesto against voyeurism? Should spectators be paid? What amazes the spectator of this day and age?

Documentary about 4 large architectural landmarks that projected Portugal abroad.

New film directed by Edgar Pêra.

A bizarre and tragic ballad of an impossible love between a nameless topographer and Leonor in a swamp soon to be destroyed by the forces of Man. She (Teresa Salgueiro, ethereal voice of Madredeus) is the “swamp-flower”, protégée of a Socratic Director (and his goat Plato). In a world without women, she is kept safe from the temptations of the flesh by her strict and grotesque Aunt. The sound-track entirely played by the workers (fado and bossa nova singers) reveals parallel narratives of suspicion and conspiracy that unfold to the pace of the unconscious leading to a confrontation between Man and River. Inspired by a hypnotic story by Branquinho da Fonseca (1905-1974).

During a night of humiliation, Raymond lives an inner revolt and a kaleidoscopic journey in a country that is about to collapse.

Death is the great equalizer, if only due to the rites celebrated by the living. And thus, after their earthly existences ended, Ioannes Paulus PP. II. and Communist revolutionary-turned-politician Álvaro Barreirinhas Cunhal suddenly had a lot in common. Two funerals, one soundtrack. Lots of questions.