Breathless (French: À bout de souffle, lit. 'Out of Breath') is a 1960 French New Wave crime drama film written and directed by Jean-Luc Godard. It stars Jean-Paul Belmondo as a wandering criminal named Michel, and Jean Seberg as his American girlfriend Patricia. The film was Godard's first feature-length work and represented Belmondo's breakthrough as an actor.
Breathless is an influential example of French New Wave (nouvelle vague) cinema.[5] Along with François Truffaut's The 400 Blows and Alain Resnais's Hiroshima mon amour, both released a year earlier, it brought international attention to new styles of French filmmaking. At the time, Breathless attracted much attention for its bold visual style, which included then unconventional use of jump cuts.
Upon its initial release in France, the film attracted over two million viewers. It has since been considered one of the best films ever made, appearing in Sight & Sound magazine's decennial polls of filmmakers and critics on the subject on multiple occasions. In May 2010, a fully restored version of the film was released in the United States to coincide with the film's 50th anniversary.
Plot
Michel is a youthful, dangerous criminal who models himself on the film persona of Humphrey Bogart. After stealing a car in Marseille, Michel shoots and kills a policeman who has followed him onto a country road. Penniless and on the run from the police, he turns to an American love interest, Patricia, a student and aspiring journalist, who sells the New York Herald Tribune on the boulevards of Paris. The ambivalent Patricia unwittingly hides him in her apartment as he simultaneously tries to seduce her and call in a loan to fund their escape to Italy. Patricia says she is pregnant, probably with Michel's child. When the police question her, Patricia realizes that Michel is on the run. Eventually she betrays him, but before the police arrive, she tells Michel what she has done. He is somewhat resigned to a life in prison, and does not try to escape at first. A friend of his arrives and attempts to hand him a gun, but he refuses. As the police arrive, the friend drives off, but throws the gun towards Michel, who picks it up. The police shoot him in the street, and after running along the block, he dies.
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Uniting Our People
American Dissident Voices broadcast of 26 June, 2021
Listen to Broadcast
https://audio.nationalvanguard.com/programs/ADV%202021-0626%20Uniting%20Our%20People.mp3
by Kevin Alfred Strom
A LISTENER AND friend has asked me to comment on how we can unite — unite the race-aware and the enemy-aware; and unite our people. I agree that, in the long term, this is a desirable and necessary goal.
At the same time, I have to deplore the impression made by most “movement unity” events and the like. They strongly and uncomfortably resemble the rag-tag, unfocused, and largely self-contradictory random collection of groups and individuals assembled in front of the occupied Capitol on 6 January 2021. That kind of floundering, disparate, multiplex array of foggy awareness, crankiness, and occasional courage can also be seen in “White Unity” conclaves. Think Charlottesville 2017. Some such gatherings make a better impression than that, of course, but only by one order of magnitude, perhaps, if that. The same fractured ideologies and worldviews and strategies and even cultural practices are there, seeping out around the edges even when they aren’t front and center. Think every David Duke conference. Think every Amren conference. Think of the meetings of the Mountain Church and Aryan Nations that Dr. Pierce attended as a guest speaker in the 1980s and 1990s.
It might seem paradoxical, but we see a lot more unity at meetings and projects run by one organization, with one leader, than we do at self-styled “movement” or “unity” meetings. But it’s not paradoxical. It’s natural. It’s to be expected. When we see, for example, Nordic Resistance Movement activists in Scandinavia hold a public action, we see men with a certain degree of physical training — men with a common goal, disciplined to the extent that almost their every move on the street and in their interactions with the public is planned in advance and coordinated. We see marchers, though they wear no actual uniform, who have absolutely uniform clothing, uniform symbology, literature, signs, leaflets, and/or banners, who are uniformly well-groomed and well-dressed. There are no disparate, jarring differences in the way they look or the things they communicate. They are on point, on-message, all the time. That’s unity.
Read more:
https://nationalvanguard.org/2021/06/uniting-our-people/
