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Pierrot le fou

Pierrot le fou

1965
Romance, Drama
1h 50m
Pierrot escapes his boring society and travels from Paris to the Mediterranean Sea with Marianne, a girl chased by hit-men from Algeria. They lead an unorthodox life, always on the run. (imdb)
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Pierrot le fou

1965
Romance, Drama
1h 50m
Your probable score
Avg Percentile 69.86% from 2069 total ratings

Ratings & Reviews

(2069)
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Rated 10 Jan 2008
22
11th
An innovative film, yes. Stylish, yes. But it's also filled with pseudo-philosophical hipster nonsense that is so pretentious it nearly made me physically ill. Bunuel is satisfied with leaving humorous paradoxes just that, Tarantino can reference his favorite artists nonstop without thinking it makes him a genius, but Godard insists on making everything revolutionary and life changing, and doesn't have the writing skill to pull it off.
Rated 26 May 2009
4
93rd
Postmodernity on film, both in terms of craft, being playful and unrestrained, and in the depiction of a carefree, almost nihilistic relationship, a view of life which is a scource of both sadness and confusion as well as joy for the characters. Way ahead of its time. A pleasure to watch, the film is fragmented and unconventional in style, yet it's all somehow held together by Godard's firm vision. Great stuff.
Rated 08 May 2008
83
72nd
A pretty natural progression of Godard's experimentation. It has the playfulness and self referential tone of his earlier works but it's clear he's grasping for something else. It's a lot of fun and full of ideas, but those ideas are only half baked and everything feels overly choppy. The visuals are splendid and the leads are charismatic, which makes up for a lot, but I just never quite sensed anything more than potential for greatness.
Rated 17 May 2008
66
26th
Expressed themes of regression, responsibility, freedom, sensing/intuiting personality compatibility. Pretentious premise of the film being beyond film, in this sense it becomes a caricature of itself. A lot of intellectual wankery, and overwhelmingly dull and insubstantial.
Rated 16 Oct 2008
25
17th
Some of the scenes are great, particularly the incredible color-experimentation in the beginning. However, the film fell apart very early on for me, when the two main characters revealed themselves as utterly pretentious and annoying. Their hippie-antics were unbearable to me. Too pretentious and too intellectual for it's own good, which ultimately ruins what could've been a good film. If you're into pretentious intellectualism this is probably for you.
Rated 16 Dec 2008
85
62nd
CHING CHONG YEAH YEAH
Rated 10 Nov 2008
80
46th
Fun but occasionally tiresome, a very interesting work nonetheless.
Rated 17 Oct 2009
9
90th
Belmondo and Karina turn in formidable performances and together with its camera work, editing and use of color, "Pierrot Le Fou" is effectively compelling. Its defiance of standard conventions can become a bit frustrating, it feels as though Godard made everything up as he went along. I wouldn't call it pretentious, since it didn't drag the film down entirely. I'll still take Malick's "Badlands" (a similar film) any day over this (that is until I rewatch "PLF", maybe I'll grow to love it...).
Rated 11 Nov 2009
90
91st
it's impossible not to fall in love with this movie
Rated 24 Mar 2010
75
77th
Saw this later than late one night on TV and although the story escaped me (its Godard, so... who cares about plot, really?) what lingers is just how beautifully shot the movie was and how good it looked.
Rated 19 Jun 2010
88
88th
I seem to have something with Godard films where I'm really intrigued and enthralled for the first 20-25 minutes, but then it starts to repeat itself somewhat and I start to get bored. Pierrot is definitely one of the best Godards I've seen, but it also suffers from this somewhat. There's only so many vague smug slogans one can put up with, y'know? Anyway it was very pretty and funny but I wasn't completely entertained (still enough to give it 88, though!)
Rated 10 Feb 2011
68
15th
French New Wave, you've made your point and I still can't stand any of your characters. Nice color though, and I still appreciate your formal techniques.
Rated 02 Jul 2011
45
9th
An almost unendurable exercise in surrealism and pretentiousness, Godard's abstract and deliberately opaque "Pierrot le fou" is a self-indulgent and sleep-inducing masturbation session with no point or entertainment value. I don't care what Godard is trying to say, because he doesn't care to make it accessible for me. He even fails to make it interesting. Sure, there are the meager joys (a dead dwarf) of watching such an epic demonstration of sham intellectualism, but are few and far between.
Rated 01 Feb 2012
30
10th
Very nice cinematography. Very, very annoying movie. I'm not a fan of avant garde experiments in general - if you are, this is probably for you. Just be prepared for a hell of a lot of pretentious namedropping as well.
Rated 24 Jul 2016
95
98th
Best 'Nam film ever? An intellectual, genre-cracking and cartoonish piece of art ever seen, so he scrambles shots of posters, ads, comic books, paintings, Pierrot's (or Ferdinand's) writings, he puts together musical and crime sequences, lovely and violent gestures, funny and abrasive dialogues (with fourth wall breaking, of course). The way Godard uses the sound to create despair and content. This is free jazz cinema. The most hilarious scene ever (the crazy guy talking about an off-screen).
Rated 20 Feb 2022
85
85th
The trick to enjoying Godard is to stop worrying about the narrative, and just let the whole film wash over you. Basically, less about plot and more about vibes. No, I am not going to read that essay from Criterion featuring some 70-year old scholar using words I don't understand.
Rated 28 Feb 2008
90
99th
Godard regains his sense of fun. Sure, literary/cinematic references abound but, for once, it doesn't feel pompous. It's pretty carefree.
Rated 29 May 2008
93
97th
for me it was satisfying in so many ways. kind of an intellectual explosion full of colors, sounds, 'dream-esk' sequences and samuel fuller in a guest role!
Rated 12 Jan 2009
99
92nd
jean-luc is crazy - the fact that i need 2 or 3 watches to understand and feel the full capacity of this movie!
Rated 03 May 2009
95
96th
Not perfect by any stretch of the imagination, but it's as good as an imperfect film has any right to be. I think that makes sense. That ending. That ending was worth it all.
Rated 08 Oct 2009
3
45th
An unorthodox mash-up of crime, romance, and road flick, and a film not very concerned with traditional character and plot devices. It feels fragmentary; something more like a collage of projected emotions. Godard touches on many subjects, from literature, the Vietnam war, lambasting consumerism, and his own love for the cinema, etc etc. He also explores many aesthetic possibilities, notably the vivid use of color, and has no shame in its self-conscience style. Also, I love Anna Karina.
Rated 14 Jun 2010
9
95th
Whilst the storyline wasn't here nor there, the brashness and youthful spirit of its creation made this fact highly irrelevant. Goddard's ambition to color the world with his wonderful post-modern pallete, embrace the irrational chaos of our existence and escape mundanity make this ever so memorable. Not only does this celebrate life, but it doesn't run away from death or pain, it accepts, and celebrates each on their own terms. Vivid poetry for the eyes.
Rated 30 Jun 2010
81
72nd
Perhaps this is a little more 'artsy' than the critics will admit, and nowadays some of the jokes and set pieces seem gimmicky, but this film is nonetheless full of charm and class, and thoroughly deserves at least one viewing. A classic in the purest sense of the word, and full of interesting, funny characters. The final speech is sublime too.
Rated 02 Sep 2010
100
99th
1 eylul 10, cesme & filmi goruntu kalitesine bakmak icin actim fakat cakilip kaldim, sonuna kadar izledim. godard'in siirsel ve alisilmadik hikaye anlatimi, belmondo ile karina'nin kimyasi harika! sinemayi neden sevdigimi hatirlatan ve icimdeki uretme istegini korukleyen, mukemmel bir deneyim.
Rated 04 Sep 2014
66
30th
Godard seems more interested in talking about movies than actually making one. It's like he has all these theories and ideas and opinions about literature and art and cinema, but he doesn't know how to adequately channel them. Here he outputs his ideas through two characters who seem disinterested in the movie they're in. The plot is an after thought, so we're left with nothing but vacuous lamentations and some pretty cinematography. This is a film that's way less than the sum of its parts.
Rated 17 Mar 2016
51
36th
This is so obviously brilliant in several ways that it's hard to dismiss. It's also light on it's feet making it a fairly easy watch. However, Godard trying to convey emotion and fun still comes off as a blind man trying to describe colors, except for in the musical numbers which are an honest delight. Compare this too what Truffaut was doing at the same time, showing true love for both cinema and humanity instead of morbidly deconstructing both. I can admire this, I can never love it.
Rated 17 Dec 2006
75
50th
This is what might've happened if Belmondo's character in Breathless had actually followed through with his plans of escaping to Italy. Pierrot le fou was shot almost entirely without a script, and it shows. It's obvious that Godard, Belmondo and Karina are making everything up as they go. It's funny, often clever and sometimes surprisingly well-structured, but a lot of it is far too silly, cartoony and almost childish for my tastes.
Rated 27 Jan 2007
65
15th
Godard at his most indulgent.
Rated 17 Apr 2007
92
93rd
# 81
Rated 01 Mar 2008
96
93rd
# 76
Rated 26 Apr 2008
90
91st
What a marvellous piece of unrestrained cinema!
Rated 05 May 2008
72
41st
Godard completely disregards the rules and delivers a stream-of-consciousness film that only grudgingly attempts to adhere to a plot. And the cinematography is glorious. But Godard's intellectual ambitions get the better of him. It's a drag having people quote shit at you all the time, especially when it's little nothings that neither enrich nor enlighten. Fortunately, there isn't TOO much of this, but there's enough to make what is otherwise a very fun and inventive film into kind of a chore.
Rated 03 Aug 2008
90
85th
I loved the narration, the use of colors, and the ending. As the film progressed, it got more and more chaotic--as in better and better.
Rated 19 Aug 2008
90
81st
Blue and Red never will be the same to me after "Pierrot le fou"... "Eres imposible! Tu me hablas con palabras pero yo te veo con sentimientos." My name is Ferdinad, my name is Ferdinand...
Rated 05 Oct 2008
95
93rd
revisto em 7 de setembro de 2023
Rated 06 Nov 2008
85
87th
you are damn gooooood
Rated 19 Dec 2008
96
92nd
84
Rated 12 Feb 2009
9
93rd
Pierrot Le Fou is some of the most fun you can have with movies. Jean-Pierre Leaud has a nice cameo and Anna Karina is wonderful as usual. I wish our generation had a Jean-Paul Belmondo - damn that guy is a badass.
Rated 18 Mar 2009
40
7th
I dont know if this movie deserve this score but... i really dont like it except for the final 10 seconds, PRICELESS!!!
Rated 09 May 2009
97
91st
Not as good as I was hoping, but better than every other Godard film I've seen.
Rated 20 Jul 2009
68
32nd
The beginning of Godard's films that disintegrate as you watch them. I don't deny that there is something there, but it's all so obfuscated that it may as well not be.
Rated 05 Sep 2009
75
55th
The characters are too full of themselves.
Rated 30 Oct 2009
50
38th
I really wanted to like it, but probably picked the wrong time to watch it. It's difficult movie. I had trouble getting into the mood, feeling of it. All I experienced is tiring plot-less mix-mash of different genres, colors and sounds. I will probably give it another try in the future.
Rated 07 Dec 2009
70
76th
Good Movie
Rated 13 Jan 2010
95
90th
92
Rated 12 Feb 2010
39
14th
Postmodernist pap.
Rated 26 Feb 2010
92
80th
Looking for freedom. This is both the content of the movie ("Pierrot" escaping from his marriage into wild adventures) and its form (deconstructed storyline).
Rated 04 Aug 2010
95
95th
"My name is Ferdinand!" I appreciate this film a billion times more since my first viewing at 16. Could be easily ridden off as pretentious postmodernism, but one cannot go into a Godard like a conventional movie; it is a deconstructed joy ride. Aesthetically, Pierrot is charming and stylistic - the rich color pallet and fresh perspective in each shot sings like visual French poetry. It's obvious how absolutely mesmerized Godard was by Anna Karina, showing her off in the loveliest way.
Rated 17 Oct 2010
35
90th
"It's one of Pierrot's unique charms that Godard doesn't regard Ferdinand and Marianne's situation with emphatic mockery or inordinate reverence." - Eric Henderson
Rated 06 Nov 2010
60
14th
Probably one of the best Godard's movie and still watchable but except some very poetical sequences (eg Rimbaud's quotation at the very end on the slow travelling on the sea, the slow wandering of the "hero") and Belmondo's prestation, it became really outdated. What's not a surprise given that it focused mainly on disregarding the cinematographic codes into effect (or claimed to be...) at that time and taking pleasure in criticizing consumption society.
Rated 21 Feb 2011
100
95th
watched: 2011, 2012, 2017, 2023
Rated 28 May 2011
90
83rd
Belmondo has the best nose i've ever seen in film, and it really shows in this film.
Rated 03 Jun 2011
72
65th
At first I found the movie annoying but as it progressed it got better. The American imitation was really funny, YEAH!
Rated 25 Jul 2011
73
66th
Some lovely scenes and a color scheme to die for. Tiresome, boring and pretentious a lot of the time but with sparks of pure joy.
Rated 08 Aug 2011
95
93rd
A vibrant, colorful film filled with exciting visuals, humor, playful musical sequences and bursts of violence. (two times)
Rated 11 Aug 2011
90
97th
With Pierrot Le Fou, Godard mashes together nearly every genre of film short of horror concealed under the guise of a romantic tragedy, which in end adds a sort of meta-communicative self-awareness to the film (not unlike that of Contempt). The couple in which the film is centered around live an entirely unsteady and turbulent lifestyle. However the ups and downs they endure seem to be less a result of a mutual effect on each other than the mere realization of the inequitable nature of life.
Rated 17 Aug 2011
40
13th
The most pretentious film of all time.
Rated 26 Sep 2011
84
90th
A movie that could have been a masterpiece, if was only containing more repeating lines in rhymes.
Rated 27 Sep 2011
100
98th
"Je ne m'appelle pas Pierrot, je m'appelle Ferdinand."
Rated 23 Oct 2011
80
74th
Though I am not much for most of Godard, this film definitely intrigued me more than his others. Though it contains what you would expect (breaking of narrative conventions, pop-culture references, de-dramatised structure) what is really interesting is both the characters AND the film try to get out of genre quickly and really tackle some big questions by refusing to participate in the demands of standard movies. Really interesting, and certainly deserves a watch
Rated 30 Nov 2011
96
92nd
#86
Rated 16 Jan 2012
70
67th
Wow, I didn't expect this to be as weird as it was. I expected a more or less straightforward thriller about a couple on the run. It was about that sort of, but with much stranger and more abstract content. Such as musical sequences, characters breaking the fourth wall and just bizarre dialogue in general. Kind of like a fucked up Bonnie and Clyde (1967). It was really good though. Exquisitely shot with great use of colours. The lead actors were both appealing too.
Rated 24 Apr 2012
83
74th
83.125
Rated 03 Jun 2012
30
12th
I don't know about Godard, man. I've seen 8 of his movies, I've liked 3. When we begin to reject plot, I begin to check out. I'm not against all French New Wave, though. I love Melville. His films seem to be more deliberately plotted and shot. Even when nothing is happening in Melville films, it's facinating. Think of Alain Delon smoking in the opening shot of Le Samourai. Nothing's happening, but it's almost a transcendent experience. Whatever that is, I don't experience it with Godard.
Rated 17 Jun 2012
45
34th
Seems to be saying that in trying to invent a way of living, today, we can only think of genres of literature and film, and that this drives us mad. However that may be, the playfulness seems rather leaden, and there were too few genuinely interesting moments. It may have been an experiment worth undertaking, but, considered as a whole, this viewer cannot count the result as a success.
Rated 15 Jul 2012
95
94th
One more incredibly beautiful film by Godard, another bleu-et-rouge femme-et-homme dichotomy. I could not bring myself to pause this even to answer the phone. Not a single wasted frame, superb photography, surprising plot, better-than-expected acting and the undeniable pinch of the je ne sais qoi. This film is a bursting cup of champagne and it drank it all in one sip.
Rated 22 Jul 2012
93
82nd
A film that's subversive as it is commercial. (The pop-art palette is wonderful.) Ferdinand running away from his wife and children in Paris with his ex-lover is definitely symbolic, and the frolic is certainly playful enough in it's exuberance to offset the heavier themes, but one has to wonder where the execution went wrong--if at all? The structure isn't deliberate enough for my tastes, but I admit that Godard rends the fabric of film with the crest and lulls of the narrative.
Rated 17 Jan 2013
90
90th
Visually it's gorgeous, bursting with colour, so many wonderful images, and it combines sound and music in such a way as to make an amazing and very satisfying sensory experience. The film has so much life, wit (it's very funny), charm, inventiveness and is just generally fun! And it combines all this with an existential romance, poignant bits of dialogue, and crucially emotions: there can't be many films which so brilliantly and vividly convey such a wide variety of them.
Rated 28 Jan 2013
43
31st
For a semi-unscripted musical road movie involving sex, poetry, animals and general whimsical haberdashery, I found Pierrot le Fou incredibly rigid and dull. Youth escaping bourgeois surroundings on wild vacations had become a staple of worldwide New Wave cinema by the mid 60s, and I acknowledge Godard's part in igniting that movement, but Pierrot is among the least exciting of its kind. The pseudu-intellectualism kills it. Every line of dialogue has to sound so smart, and none of them are.
Rated 16 Apr 2013
85
89th
Godard grandes us a piece of art, a visual stream of consciousness that diffuses my head. But, I don't mind... On the contrary, I love it!
Rated 31 May 2013
85
74th
I enjoyed it a lot based on its visuals, music, and the general mood that it inspires in me. As usual, Godard tries to cover many issues of his time, but again, is only good in referencing them instead of making something out of it. I'm not really impressed with the dialogue, especially the philosophy, and it really starts to repeat itself. Quite an unbelievable plot, but an entertaining one at least. I'm baised because Anna Karina is in it.
Rated 19 Jun 2013
60
24th
WHOA, IS THAT FUCKING YELLOWFACE DUDE?
Rated 18 Sep 2013
6
83rd
one of those godard films that just clicked more than others. i dunno. rather playful and whimsical, and the random philosophical dialogue seems to be an ancillary idiosyncrasy rather than self-important thematic nonsense. perhaps a bit too 'foux du fafa' to be great, but whatever. enjoyable.
Rated 18 Sep 2013
82
71st
81.500
Rated 16 Jan 2014
71
72nd
I was tripping so hard it made total sense. He is laughing at us, and angry at us, like the jewish god - but it's just because Godard love us, and believes in our potential.
Rated 25 Jan 2014
75
75th
brilliant scenes mixed with random godardesque nonsense.
Rated 23 Feb 2014
62
51st
i liked this more than other 60s godard so maybe i'm warming up to him
Rated 03 Apr 2014
58
48th
if you're gonna drag me along with only two characters for two hours, they better be relatable. instead, after half an hour i wanted to punch both of them in the throat.
Rated 23 Jan 2015
80
80th
Pierrot le fou is a moving portrait of spontaneity that's the most free-spirited film I've seen yet. The colors are breathtaking, as is the seaside cinematography where you can almost feel a breeze blowing. The density of the dialogue is exhausting as a subtitle reader, but that's not the movie's fault. Jean-Paul Belmondo comes dangerously close to my personally despised Michelle from Breathless, but he's saved by the fact his character seems more passively awkward than an asshole.
Rated 08 Aug 2017
55
44th
Another Godard movie that I couldn't like it on my first viewing. However whenever I give a second chance to Godard I like it. I'll do the same for Pierrot too.
Rated 12 Mar 2018
80
72nd
Too inconsistent to be perfect. At times I found the satire in the movie too vulgar to appreciate.
Rated 30 Jun 2018
20
7th
The only emotion I got watching this was the annoyance of wasting my time. But it seems that it was the genuine intent of the director, so it's a success in its own way.
Rated 02 Dec 2018
60
35th
I like a lot of jazz music, but I've always been bewildered by bebop. Technically, it's impressive, but it just doesn't have that toe-tapping sound or riffs that you can hum. And I feel the same way about so much of Godard's works: while I can appreciate the amazing technical aspects, at heart, they're just not films that I enjoy. And if my theory about this film -- it was all pillow talk -- is right, then that makes the zany ending completely irrelevant.
Rated 14 Dec 2018
70
53rd
Ferdinard, Marianne: "Why do you look so sad? Because you speak to me in words and I look at you with feelings."
Rated 24 Aug 2019
39
13th
kinda pretencious???? i liked some metaphors, i watched this one for a school, so it doesnt really help
Rated 07 Apr 2020
60
36th
It is highy pretentios and once again Godard, believing that his ideas matter the most, screams out his ideas to screen. There are nice sceenes involved but overall, as Godard himself said "this is not a film".
Rated 24 Nov 2020
73
81st
A wonderful distillation of the cultural tides in the mid 1960s.
Rated 01 Dec 2020
95
86th
Pretentious, engaging, and a crazy love story. Also has more endings than Return of the King.
Rated 11 Feb 2021
60
36th
If you like watching people read, this is your movie. It gets better as it goes on.
Rated 06 Aug 2021
94
95th
"??????????????????????????????????????????????????????????????"/????????????????????????????????????/??????????????????????????????????????????????????????????????????
Rated 28 Nov 2021
90
89th
I believe I should rewatch it, I wasn't there really with my head (LIFFE 2021). Thematically very bold fim with a style you recognize close eyed. A chaotic love story of broken characters with a good amount of quality French humour sprinkled over this post-modern piece of art. An instant classic.
Rated 27 Jul 2022
80
68th
Any film where Anna Karina sings a little song is worth a watch.
Rated 01 Oct 2022
63
25th
This reminded me a bit of Godard's Week End. Like that film, it's as pretentious as all get out and it makes me wonder if I'm just too dumb to understand it (very possible!) or if it's nonsense, but it sure is unpredictable and interesting to watch. I wouldn't say I particularly liked it, but it's something very different--just some wild stuff that doesn't appear to make any sense at times but is never boring. There's a certain energy to the movie that is infectious, even if it is impenetrable.
Rated 16 Oct 2022
50
20th
Interesting stylistic elements but it's just not enough to keep this from being a tremendously boring film.

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