Ceticultsot Beautiful, moving film.

Sexyloutak Absolutely the worst movie.

PiraBit if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

Rosie Searle It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

osmangokturk watching this movie of 1962 in 2016, one should interpret and asses the movie accordingly. this may contain Spoiler . At first the story seems to be an usual story of a girl pursuing a carrier in cinema while falling to the prostitution. To me it is an in-depth analysis of a woman's life. the prostitution as an occupation is the medium to make this analysis. the scene where they missed the movie and she has to wait her boss talking to one of his friend and because she gets bored and the friend of her boss childishly tries to cheer her up, she dance is so innocent and breathe-taking.

davikubrick Jean-Luc Godard is one of the hardest filmmakers to like, films like "Breathless" and "Pierrot le fou" may not please many especially fans of blockbusters and even fans of independent films and different kind of movies, but Vivre sa Vie (or My life to live) is perhaps his most accessible and realistic work to be its most distinctive film, this film, Godard virtually sacrifices the type of cinema that made him a world cinema icon, but the Godard cinema can still be found on this film. Divided into 12 chapters (or "tableaux"), A young Parisian woman who abandoned her husband and son to try to be an actress in Paris, but with no other option, she becomes a prostitute. The film, unlike the other from the director, has little background music and a few dialogue's typical that director usually put in his films, he uses a realistic atmosphere and little pleasant showing 12 unconnected but salient parts, some a little depressing,of the life of this woman (Nana, played by Anna Karina, Godard's muse)while she is in Paris. The film addresses issues such as prostitution, disappointment and the difficulty of trying to live a new life and end up going to an even worse, the cruelty of fate, and various other themes in a realistic and little conventional way. Even if the movie has some depressing scenes, there are some funny and somewhat relaxed scenes. Sometimes, words do not say everything we want and then they disappoint us, the same thing as fate made with Nana.

Christopher Culver VIVRE SA VIE was Jean-Luc Godard's fourth feature film. The protagonist Nana (Anna Karina) is a young Parisian woman who is not especially bright, but full of life and endowed with great beauty. Unable to make ends meet by working at a record shop, and unable to break into films as she dreams, she starts to work as a prostitute. Postwar French law permitted prostitution, with certain rules and regulations that the film explains in a documentary-like segment. Nana, who yearns to live her life according to her own desires, initially thinks that this new profession has set her free from cares. In fact, Nana's liberation from penury through prostitution only subjects her to new constraints imposed by her pimp and clientèle. The film, divided into twelve tableaux with fade-to-black transitions that quicken as it goes on (which one commentator compares to breathing faster and faster) brings us to one of the most shocking endings I have ever seen.This is a superlative film. Clocking in at 85 minutes, it lasts exactly as long as its story demands, with not a single moment that feels superfluous. Everything fits together, perfectly even things that ought to seem extraneous, the overindulgence of the auteur. Early in the film Nana goes to see Carl Dreyer's 1928 silent film "La Passion de Jeanne d'Arc", and this is not a mere gratuitous tribute to earlier cinema as is common in French New Wave films. Nana speaks with an elderly philosopher in a café, who is in fact the real-life philosopher Brice Parain whose dialogue here consists of his own writings, and yet this is not shallow intellectualism. Rather, these scenes increase the three-dimensionality of Nana as a character: not very intelligent and with negligible education, an easy woman since long before the film begins, but feeling strongly that there must be more out there.The believability of Nana as a character is increased all the more by Anna Karina's masterful performance. When coming to Godard's films, after the filmmaker has taken a beating from some circles, one might think that Karina was simply a beauty with no especial talent that enchanted the director due to her looks and foreign origin. Nope, the Danish actress here presents a completely believable Parisian airhead who is so easily moved by sentimental art.

stephparsons Now who doesn't enjoy a healthy dose of French, 'Nouvelle Vague' existentialism on a rainy Sunday afternoon? Well, I must confess I was initially a little apprehensive about 'Vivre sa Vie', a twelve tableaux, New Wave film directed by Jean-Luc Godard. Not that I haven't immensely enjoyed many of his other works but the write up on the DVD made it sound far more inaccessible and 'out there' than it actually was. The use of tableaux helped tremendously with the flow and understanding and gave the movie the effect of being more like a play whilst providing a direct view into the mind's eye of the filmmaker.Vivre sa Vie is certainly less plot driven than character driven - but what do you expect? This is French New Wave people! Essentially one becomes immersed in the life and lifestyle, thoughts, feelings and attitudes of Nana Kleinfrankenheim (played excellently by Anna Karina); a young woman who has left an unhappy marriage, and her child, and is seeking more in life. Apparently Godard specifically chose Karina for his main character believing her lack of acting experience would contribute to her natural 'awkwardness; it did, and very effectively too. Nana is dissatisfied with her lot and aspires to become an actress as she works, with extreme indifference, in a low paid sales position. She finds herself without enough money to make ends meet and that is where her descent into a seedier, harder life begins. Throughout the movie, Nana's personality vacillates wildly between apathy, coquettishness, genuine sadness, sultriness, sheer awkwardness and hard-nosed conviction. I particularly enjoyed the tableaux where she meets an older man in a café and they start a conversation which leads to philosophical enquiry. Although Nana has no knowledge of the subject, her enquiries and questions lead to her philosophizing, albeit for a brief period of time. This is one of the rare scenes where Nana becomes genuinely animated and exuberant and one sees that she is truly an innocent, whose various 'masks' are just that; a way of appearing that she has her life together, knows what she's doing and doesn't care about the consequences.The cinematography and atmosphere of sa Vie is beautiful, brooding and captivating; some scenes consisting solely of the back of peoples' heads, their reflections in mirrors and their thoughts only spoken in their heads. If you fancy stepping back in time to 1960s Paris, where everyone is impeccably chic all the time, where people seemingly inhale more smoke than oxygen and where one can revel in a fiesta of ennui, seediness, desperation, innocence and stark realism - then you are going to love this movie!