[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"tmdb:person\u002F95058:{\"language\":\"en-US\",\"append_to_response\":\"combined_credits,images\"}":3},{"adult":4,"also_known_as":5,"biography":6,"birthday":7,"deathday":8,"gender":9,"homepage":8,"id":10,"imdb_id":11,"known_for_department":12,"name":13,"place_of_birth":14,"popularity":15,"profile_path":16,"combined_credits":17,"images":816},false,[],"Anne-Marie Miéville, born November 11, 1945 in Lausanne, is a filmmaker, director, producer, screenwriter, actress and writer from Vaud. Anne-Marie Miéville works as a photographer and is the manager of a bookstore. In the 1960s, she also recorded two variety discs for Barclay, on songs by Jean-Jacques Debout. Then in 1972, she met Jean-Luc Godard in Paris, who became her companion until his death in 2022. Initially, from 1973 to 1994, she collaborated with this filmmaker as a photographer, screenwriter, editor, co-director and artistic director for some of her\u002Ftheir films. Then in 1983, she directed her first short film, \"How Can I Love\", and, a year later, a second short film, \"Le Livre De Marie\".\n\nSince then, she has continued to make films. Through her cinematographic stories, she questions, with a singularity of tone, love, time, the meaning of things, ... Her first feature film is called: \"My Dear Subject\" and was released in 19883. 1994 \"Lou Didn't Say No\".\n\nStill in 1994, Anne-Marie Miéville published \"Histoire Du Garçon\", a text retracing the career and life of her brother Alain, who died accidentally in 1993. In 1996\u002F1997, a new feature film was broadcast, \"Nous Sommes Tous Encore Here\". Then in 2000, \"Après La Réconciliation\" in which she appeared, accompanied by Claude Perron, Jacques Spiesser, Jean-Luc Godard and Xavier Marchand.\n\nIn 2002, she wrote \"Images In Words\", short texts published by Farrago, which the publisher wrote were \"a series of fixed shots, short films of writing. Strictly speaking, it is not a question of news, but rather of indescribable moments, fleeting perfumes of images, where it would be a question of filming with words”.","1945-11-11",null,1,95058,"nm0594746","Directing","Anne-Marie Miéville","Lausanne, Vaud, Switzerland",1.1544,"\u002FaFz0xu9fuReVOm0rEzUVvHZ5Agw.jpg",{"cast":18,"crew":250},[19,36,51,66,80,93,103,116,130,143,156,167,179,188,200,212,222,238],{"adult":4,"backdrop_path":20,"genre_ids":21,"id":23,"title":24,"original_language":25,"original_title":26,"overview":27,"popularity":28,"poster_path":29,"release_date":30,"softcore":4,"video":4,"vote_average":31,"vote_count":32,"character":33,"credit_id":34,"order":9,"media_type":35},"\u002FysDodI3uMTo8K1ghlUU3kNFHkMr.jpg",[22],99,26298,"Here and Elsewhere","fr","Ici et Ailleurs","Here and Elsewhere takes its name from the contrasting footage it shows of the fedayeen and of a French family watching television at home. Originally shot by the Dziga Vertov Group as a film on Palestinian freedom fighters, Godard later reworked the material alongside Anne-Marie Miéville.",1.5888,"\u002FyxdBS1jF7HF1GryHwCZSvLPukpL.jpg","1976-09-15",6.7,30,"Narrator (voice)","52fe44f9c3a368484e041823","movie",{"adult":4,"backdrop_path":37,"genre_ids":38,"id":39,"title":40,"original_language":25,"original_title":41,"overview":42,"popularity":43,"poster_path":44,"release_date":45,"softcore":4,"video":4,"vote_average":46,"vote_count":47,"character":48,"credit_id":49,"order":50,"media_type":35},"\u002FkcDyzBiXrcpLaVpFVGvRgT7gcxk.jpg",[22],1005409,"Godard Cinema","Godard, seul le cinéma","Jean-Luc Godard is synonymous with cinema. With the release of Breathless in 1960, he established himself overnight as a cinematic rebel and symbol for the era's progressive and anti-war youth. Sixty-two years and 140 films later, Godard is among the most renowned artists of all time, taught in every film school yet still shrouded in mystery. One of the founders of the French New Wave, political agitator, revolutionary misanthrope, film theorist and critic, the list of his descriptors goes on and on. Godard Cinema offers an opportunity for film lovers to look back at his career and the subjects and themes that obsessed him, while paying tribute to the ineffable essence of the most revered French director of all time.",1.538,"\u002Fcz5DGkSyAfoe31AY5yV855Lx2zR.jpg","2023-06-05",5.6,14,"Self (archive footage)","643a23fa31234502ecd81aa4",15,{"adult":4,"backdrop_path":52,"genre_ids":53,"id":55,"title":56,"original_language":25,"original_title":57,"overview":58,"popularity":59,"poster_path":60,"release_date":61,"softcore":4,"video":4,"vote_average":62,"vote_count":63,"character":64,"credit_id":65,"order":9,"media_type":35},"\u002F3OafDCi1Y79Bb60Od8xXmg4iXjj.jpg",[54],18,140007,"After the Reconciliation","Après la réconciliation","An elderly couple and a younger man and woman follow up failed seduction attempts with conversation about love and the meaning of life.",0.986,"\u002FuRMPgxZNKHUD1E2K44nrVoQXnbI.jpg","2000-12-27",7.1,10,"La Première Femme","52fe4a829251416c750e456d",{"adult":4,"backdrop_path":67,"genre_ids":68,"id":69,"title":70,"original_language":25,"original_title":71,"overview":72,"popularity":73,"poster_path":74,"release_date":75,"softcore":4,"video":4,"vote_average":76,"vote_count":77,"character":48,"credit_id":78,"order":79,"media_type":35},"\u002F51uIx1VkBwsNVWsJetqE7cA1Vav.jpg",[22],1122965,"Godard by Godard","Godard par Godard","Godard by Godard is an archival self-portrait of Jean-Luc Godard. It retraces the unique and unheard-of path, made up of sudden detours and dramatic returns, of a filmmaker who never looks back on his past, never makes the same film twice, and tirelessly pursues his research, in a truly inexhaustible diversity of inspiration. Through Godard’s words, his gaze and his work, the film tells the story of a life of cinema; that of a man who will always demand a lot of himself and his art, to the point of merging with it.",1.5549,"\u002FbT3dDMz11CwtF8IdakwG0ILpyYu.jpg","2023-05-17",7.2,5,"64fba151e0ca7f00ec8afedf",4,{"adult":4,"backdrop_path":81,"genre_ids":82,"id":84,"title":85,"original_language":25,"original_title":85,"overview":86,"popularity":87,"poster_path":88,"release_date":89,"softcore":4,"video":4,"vote_average":90,"vote_count":79,"character":91,"credit_id":92,"order":9,"media_type":35},"\u002FxvtnuOORpC12Hij3f5H0TM0LGgD.jpg",[22,83],10770,228957,"Soft and Hard","Jean-Luc Godard and Anne-Marie Miéville talk about their films, while doing everyday tasks around their house.",1.3861,"\u002F8w0wqG74NGimclIKwpbSYi9nzH9.jpg","1985-08-12",6,"Self","52fe4ede9251416c75165155",{"adult":4,"backdrop_path":8,"genre_ids":94,"id":95,"title":96,"original_language":25,"original_title":96,"overview":97,"popularity":98,"poster_path":8,"release_date":99,"softcore":4,"video":4,"vote_average":100,"vote_count":101,"character":91,"credit_id":102,"order":9,"media_type":35},[22,83],259026,"Six fois deux\u002FSur et sous la communication","The title and subtitle of this French miniseries are “Six Times Two; Over and under the media”. The “six” refers to the fact that there are six episodes; the “two” has a double meaning.",1.3261,"1976-03-12",8.7,3,"5320c4a39251411f85001b04",{"adult":4,"backdrop_path":8,"genre_ids":104,"id":105,"title":106,"original_language":25,"original_title":107,"overview":108,"popularity":109,"poster_path":110,"release_date":111,"softcore":4,"video":4,"vote_average":112,"vote_count":113,"character":114,"credit_id":115,"order":9,"media_type":35},[],293426,"The Darty Report","Le Rapport Darty","A daring deconstruction of consumerist behavior featuring a robot and Miss Clio Darty, with a voiceover by Godard and Anne-Marie Miéville, this philosophical \"report,\" like so many of Godard's commissions, was rejected by its funders.",1.162,"\u002Fe8kQ2zDXGr0G7BZnvTW4OZaQ7wv.jpg","1989-01-01",6.5,2,"Mamzelle Clio","541a4933c3a3685104001401",{"adult":4,"backdrop_path":117,"genre_ids":118,"id":119,"title":120,"original_language":25,"original_title":121,"overview":122,"popularity":123,"poster_path":124,"release_date":125,"softcore":4,"video":4,"vote_average":126,"vote_count":127,"character":128,"credit_id":129,"order":9,"media_type":35},"\u002FiGNAF2Es13Hwh2bx5mOSiqePXyO.jpg",[54],248319,"How's It Going?","Comment ça va ?","During the making of a video film about a communist printing press, a union member and a leftist activist discuss how to present their information, especially how to caption two specific images: one of a protest in Portugal, the other of a strike in France. One of them decides to write to his son, a manual worker living outside of Paris with his girlfriend, telling the young man about his troubles.",1.111,"\u002FnlN7pDv58qXXo8sBINDhaymMrie.jpg","1978-04-26",6.1,16,"Odette","54208230c3a368699100039c",{"adult":4,"backdrop_path":131,"genre_ids":132,"id":133,"title":134,"original_language":25,"original_title":135,"overview":136,"popularity":137,"poster_path":138,"release_date":139,"softcore":4,"video":4,"vote_average":140,"vote_count":141,"character":33,"credit_id":142,"order":9,"media_type":35},"\u002Fq6GsGCc0Ncymil1WiTrhsScRKdG.jpg",[22,54],414030,"The Image Book","Le Livre d'image","In Le Livre d’Image, Jean-Luc Godard recycles existing images (films, documentaries, paintings, television archives, etc.), quotes excerpts from books, uses fragments of music. The driving force is poetic rhyme, the association or opposition of ideas, the aesthetic spark through editing, the keystone. The author performs the work of a sculptor. The hand, for this, is essential. He praises it at the start. “There are the five fingers. The five senses. The five parts of the world (…). The true condition of man is to think with his hands. Jean-Luc Godard composes a dazzling syncopation of sequences, the surge of which evokes the violence of the flows of our contemporary screens, taken to a level of incandescence rarely achieved. Crowned at Cannes, the last Godard is a shock film, with twilight beauty.",3.1237,"\u002F5y1mTTYPVvaPeKIVqy3DymE6osv.jpg","2018-10-11",6.3,86,"5d00cc8092514162bcbbd1c6",{"adult":4,"backdrop_path":8,"genre_ids":144,"id":145,"title":146,"original_language":147,"original_title":146,"overview":148,"popularity":149,"poster_path":150,"release_date":151,"softcore":4,"video":152,"vote_average":153,"vote_count":153,"character":154,"credit_id":155,"order":113,"media_type":35},[22],692243,"Four Short Films","en","Jean-Luc Godard, and Anne-Marie Miéville Four Short Films",1.3223,"\u002F90gz0QHJRDvLh1Wcdx401H8vzAv.jpg","2006-03-06",true,0,"Self - Narrator (voice)","5e925bf00231f2001a02cd76",{"adult":4,"backdrop_path":8,"genre_ids":157,"id":158,"title":159,"original_language":25,"original_title":159,"overview":160,"popularity":161,"poster_path":162,"release_date":163,"softcore":4,"video":4,"vote_average":164,"vote_count":165,"character":91,"credit_id":166,"order":9,"media_type":35},[22],188321,"Scénario du film Passion","Godard constructs a lyrical study of the cinematic and creative process by deconstructing the story of his 1982 film Passion. “I didn’t want to write the script,” he states, “I wanted to see it.” Positioning himself in a video editing suite in front of a white film screen that evokes for him the “famous blank page of Mallarmé,” Godard uses video as a sketchbook with which to reconceive the film. The result is a philosophical, often humorous rumination on the desire and labor that inform the conceptual and image making process of the cinema.",1.2121,"\u002Fl1K6vRTgirdcGz8oQL1amYxTBUJ.jpg","1982-01-28",5.9,11,"5f46ebca0d11f20031bd4d50",{"adult":4,"backdrop_path":8,"genre_ids":168,"id":169,"title":170,"original_language":25,"original_title":171,"overview":172,"popularity":173,"poster_path":174,"release_date":175,"softcore":4,"video":4,"vote_average":176,"vote_count":177,"character":91,"credit_id":178,"order":101,"media_type":35},[22],293424,"Notes on Hail Mary","Petites notes à propos du film 'Je vous salue, Marie'","Notes on the inception and making of Hail Mary.",1.4281,"\u002FcXGUydBKdoCY11yL8U7HhTBuLLc.jpg","1983-01-01",5.3,9,"5ffba2e80fb17f003c3fbdd7",{"adult":4,"backdrop_path":8,"genre_ids":180,"id":181,"title":182,"original_language":147,"original_title":182,"overview":183,"popularity":184,"poster_path":185,"release_date":186,"softcore":4,"video":4,"vote_average":63,"vote_count":9,"character":91,"credit_id":187,"order":9,"media_type":35},[22],848323,"Jean-Luc Godard and Anne-Marie Miéville on Google StreetView","A short film utilizing Google Maps' StreetView feature where Jean-Luc Godard and Anne-Marie Miéville are captured walking the streets of Switzerland. Set to music from Godard's film \"Contempt\" composed by Georges Delerue.",1.0725,"\u002Fjx0LJ5C2zUKN8Xy7tSq9vrnfyIw.jpg","2018-02-21","60e4d10b07faa200301827af",{"adult":4,"backdrop_path":8,"genre_ids":189,"id":191,"title":192,"original_language":25,"original_title":193,"overview":194,"popularity":195,"poster_path":196,"release_date":197,"softcore":4,"video":4,"vote_average":46,"vote_count":77,"character":198,"credit_id":199,"order":153,"media_type":35},[83,190,22],10402,385191,"Dream On","Faut pas rêver","An anti-music video for a Patrick Juvet song.",0.994,"\u002FdDKlwkajiZcLKmbzNLYBJ58LFxH.jpg","1977-12-31","Mother (voice) (uncredited)","66e2620c791320cd95d43b45",{"adult":4,"backdrop_path":8,"genre_ids":201,"id":202,"title":203,"original_language":25,"original_title":204,"overview":205,"popularity":206,"poster_path":207,"release_date":208,"softcore":4,"video":4,"vote_average":209,"vote_count":101,"character":210,"credit_id":211,"order":9,"media_type":35},[22],293242,"Amateur Report (Exhibition Model)","Reportage amateur (Maquette expo)","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.",1.3087,"\u002FagWnNihvp5Plpb2EAre10qUhyvw.jpg","2006-04-24",5.7,"Self (voice) (uncredited)","688433fef9fcc95b9ad9ab6b",{"adult":4,"backdrop_path":8,"genre_ids":213,"id":214,"title":215,"original_language":25,"original_title":215,"overview":216,"popularity":217,"poster_path":218,"release_date":219,"softcore":4,"video":4,"vote_average":112,"vote_count":90,"character":220,"credit_id":221,"order":9,"media_type":35},[22],194532,"The Old Place","Essay on the influence of arts at the end of the 20th century produced by the Museum of Modern Art.",1.1944,"\u002F19nSvCW1HbV9fPjy5ZqUH0tv9Ox.jpg","2000-05-19","Self \u002F Narrator (voice)","695985d73251db027ac38456",{"adult":4,"backdrop_path":223,"genre_ids":224,"id":226,"origin_country":227,"original_language":25,"original_name":229,"overview":230,"popularity":231,"poster_path":232,"first_air_date":233,"softcore":4,"name":229,"vote_average":234,"vote_count":113,"character":91,"credit_id":235,"episode_count":101,"first_credit_air_date":236,"media_type":237},"\u002F4rJpvb0fi7Coh96e35WTRPrkods.jpg",[225],10767,244224,[228],"FR","Spécial cinéma","Marcello Mastroianni, Isabelle Adjani, Alain Delon, Martin Scorsese, Woody Allen... the biggest stars in cinema were welcomed by Christian Defaye on his show Spécial cinéma. Between intimate confessions from actors and immersion in the world of the greatest filmmakers, Christian Defaye took viewers on a journey into the fascinating world of cinema for nearly thirty years.",79.3018,"\u002FjONImBKU4sK9mBcK5cx7a4R4h5v.jpg","1974-09-25",9.5,"65b7af1a312345017bdc188a","1984-01-16","tv",{"adult":4,"backdrop_path":239,"genre_ids":240,"id":241,"origin_country":242,"original_language":25,"original_name":96,"overview":243,"popularity":244,"poster_path":8,"first_air_date":245,"softcore":4,"name":96,"vote_average":246,"vote_count":247,"character":91,"credit_id":248,"episode_count":249,"first_credit_air_date":245,"media_type":237},"\u002FxXHEezg8XUEtjYila37VwzP2uVZ.jpg",[22],59104,[228],"In this radically unconventional television series, Godard and Miéville analyze the political economy of personal and mass media communications in relation to society, culture, family and the individual. Their inquiry focuses \"on and beneath\" communications in a provocative critique of the power of media images in contemporary culture and everyday life.\n\nEach of the six programs is constructed of two complementary segments: A discursive visual essay on one aspect of the production and consumption of images is paired with a related interview on labor and leisure with an individual — an amateur filmmaker, a dairy farmer, the mathematician René Thom, Godard himself. These extended interviews provide a subjective counterpoint to the theoretical essays on work, economics and mass cultural imagery.",2.7098,"1976-07-25",7.3,7,"66c8fed3c7e8d465275ed661",12,[251,255,260,271,274,279,293,305,317,320,323,327,330,333,336,347,359,362,365,377,380,383,386,397,400,403,417,431,440,443,446,454,464,475,485,488,495,498,501,504,507,510,513,516,519,531,542,547,559,572,584,587,598,611,623,632,641,650,653,656,670,679,682,685,688,691,694,697,700,704,717,721,731,734,737,740,751,761,764,767,770,774,778,787,791,795,799,803,807,812],{"adult":4,"backdrop_path":20,"genre_ids":252,"id":23,"title":24,"original_language":25,"original_title":26,"overview":27,"popularity":28,"poster_path":29,"release_date":30,"softcore":4,"video":4,"vote_average":31,"vote_count":32,"credit_id":253,"department":12,"job":254,"media_type":35},[22],"52fe44f9c3a368484e041809","Director",{"adult":4,"backdrop_path":20,"genre_ids":256,"id":23,"title":24,"original_language":25,"original_title":26,"overview":27,"popularity":28,"poster_path":29,"release_date":30,"softcore":4,"video":4,"vote_average":31,"vote_count":32,"credit_id":257,"department":258,"job":259,"media_type":35},[22],"52fe44f9c3a368484e04180f","Production","Producer",{"adult":4,"backdrop_path":261,"genre_ids":262,"id":263,"title":264,"original_language":25,"original_title":265,"overview":266,"popularity":267,"poster_path":268,"release_date":269,"softcore":4,"video":4,"vote_average":247,"vote_count":101,"credit_id":270,"department":12,"job":254,"media_type":35},"\u002FbgspKcir168iAP8BnYmHsEK3orC.jpg",[22,54],49116,"Lest We Forget","Contre l’oubli","A compilation of 30 French filmmakers, Alain Resnais and Jean Luc Godard among them, who use film to make a plea on behalf of a political prisoner. Jean Luc Godard and Anne Marie Mieville's film concerns the plight of Thomas Wanggai, West Papuan activist who has since died in prison. The short films were commissioned by Amnesty International.",1.2384,"\u002F1PMobTJtMzOSBqNCHImiLAyPumH.jpg","1991-12-11","52fe4786c3a36847f813a9e1",{"adult":4,"backdrop_path":52,"genre_ids":272,"id":55,"title":56,"original_language":25,"original_title":57,"overview":58,"popularity":59,"poster_path":60,"release_date":61,"softcore":4,"video":4,"vote_average":62,"vote_count":63,"credit_id":273,"department":12,"job":254,"media_type":35},[54],"52fe4a829251416c750e4563",{"adult":4,"backdrop_path":52,"genre_ids":275,"id":55,"title":56,"original_language":25,"original_title":57,"overview":58,"popularity":59,"poster_path":60,"release_date":61,"softcore":4,"video":4,"vote_average":62,"vote_count":63,"credit_id":276,"department":277,"job":278,"media_type":35},[54],"52fe4a829251416c750e4569","Writing","Screenplay",{"adult":4,"backdrop_path":280,"genre_ids":281,"id":282,"title":283,"original_language":25,"original_title":284,"overview":285,"popularity":286,"poster_path":287,"release_date":288,"softcore":4,"video":4,"vote_average":126,"vote_count":289,"credit_id":290,"department":291,"job":292,"media_type":35},"\u002Fp8NHG9uNXn7MSrknNk0LbBjJxQc.jpg",[54],113479,"Every Man for Himself","Sauve qui peut (la vie)","A look at the sexual and professional lives of three people — a television director, his ex-girlfriend, and a sex worker.",3.9185,"\u002FhA69SHZQ3jixYq2wykoTlH2VgjI.jpg","1980-10-12",87,"52fe4b38c3a36847f81f86a1","Editing","Editor",{"adult":4,"backdrop_path":294,"genre_ids":295,"id":296,"title":297,"original_language":25,"original_title":298,"overview":299,"popularity":300,"poster_path":301,"release_date":302,"softcore":4,"video":4,"vote_average":303,"vote_count":249,"credit_id":304,"department":12,"job":254,"media_type":35},"\u002FnQzoFHA0CLbrOZ9FW6nOkRlpduF.jpg",[83,22],116408,"2 x 50 Years of French Cinema","Deux fois cinquante ans de cinéma français","At a lakeside hotel, Michel Piccoli discusses the centennial of cinema with Jean-Luc Godard. Godard asks why should cinema's birthday be celebrated when the history of film is a forgotten subject. Through the remainder of his hotel stay, Piccoli tests Godard's hypothesis.",1.1956,"\u002F1bl6nymP7DUZPn1uTUWSLPQOiKj.jpg","2008-09-17",6.4,"52fe4b8ec3a36847f820968d",{"adult":4,"backdrop_path":306,"genre_ids":307,"id":308,"title":309,"original_language":25,"original_title":310,"overview":311,"popularity":312,"poster_path":313,"release_date":314,"softcore":4,"video":4,"vote_average":315,"vote_count":63,"credit_id":316,"department":291,"job":292,"media_type":35},"\u002F2nkIJlH3253EeDXp1IkEeBkwSHM.jpg",[],44605,"Liberty and Homeland","Liberté et Patrie","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. 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