“It’s the Little Red Book / That makes it all move”
On the tail end of his lauded New Wave period, seminal filmmaker Jean-Luc Godard began to move towards a new realm of cinema, best exemplified by his 1967 political feature, “La Chinioise,” a woozy and modern take on Fyodor Dostoyevsky’s 1872 novel “The Possessed” that married some of the auteur’s signature obsessions — from tracking shots to a star turn from Jean-Pierre Léaud — with a new bent towards political motivations.
Godard continued to traffic in such films for the next decade, spurned by his infamous desire to spend his time “making political films politically,” and “La Chinoise” was followed by offerings like “Le Gai Savoir” and “Tout Va Bien,” which continued to share Godard’s constantly evolving vision of both the world and his films with an enthralled audience.
As “La Chinoise” approaches a milestone anniversary — 50 years, not too shabby — Godard’s revolutionary period suddenly seems more relevant than ever, and still just as risky. Both “La Chinoise” and “Le Gai Savoir” are getting restorations in celebration, and New York City’s own Quad Cinema will premiere the new restorations later this month, thanks to Kino-Lorber Repertory, with “La Chinoise” opening on July 21 and “Le Gai Savoir” arriving a week later, on July 28.
Check out our exclusive restored trailer for “La Chinoise” below, plus check out a slew of brand new posters for both “La Chinoise” and “Le Gai Savoir,” designed by Dylan Haley, in the gallery up top.