Film

Godard Forever: Part One, a 17-film retrospective of director Jean-Luc Godard’s early work, begins this Friday at the TIFF Bell Lightbox in Toronto. To mark the occasion we look at the politics and provocations that were the auteur’s long-time trademark.

Hazlitt talks to the Academy Award-winning director of A Separation, about his latest film, The Past, and the moral crises at the heart of his work.

Though clean by design, Her’s visual vocabulary never feels overly tailored. Its colours and imagery are deliberate, but rather than lapse into bludgeoning metaphor, they prop up a world based on comfort—both the appreciation of and the longing for.

Joel and Ethan Coen don’t just challenge their characters—they punish them, humiliate them, are even accused of hating them. But just because they put their creations through the wringer, doesn’t mean they delight in their despair.

From The Fly and Videodrome to A History of Violence, the director has long regarded the body with equal parts fascination and fear. His approach has changed, but as a new exhibition of his props and artifacts shows, his focus on the flesh remains.