A cockeyed fusion of science fiction, pulp characters, and surrealist poetry, Godard’s irreverent journey to the mysterious Alphaville remains one of the least conventional films of all time. Eddie Constantine stars as intergalactic hero Lemmy Caution, on a mission to kill the inventor of fascist computer Alpha 60.
“One of Godard’s most sheerly enjoyable movies! A dazzling amalgam of Film Noir and science fiction.” — Tom Milne, Time Out London
“The passage of almost half a century has done nothing to dim its stylishness, blunt its humor or extinguish its piercing message.” — Richard Williams, The Guardian
“There is not a more intoxicating loading dose of uncut movieness available on New York screens at the moment than Jean-Luc Godard’s [Alphaville]!” — Michael Atkinson, The Village Voice
“Godard’s film has the makings of a retro classic—with elements of noir and a trench coat-sporting, Bogartesque Eddie Constantine as its lead, detective Lemmy Caution—but it’s set in a dystopian future run by a tyrannical machine called Alpha 60. Though this is a science-fiction film, Godard isn’t interested in flashy special effects, instead playing in the dramatic light and shadows captured by the late, great cinematographer Raoul Coutard.” – Kristen Yoonsoo Kim, Brooklyn
“What really matters is the atmosphere, rife with ominous shadows (courtesy ace DP Raoul Coutard, turning Paris circa 1965 into an ultra-convincing dystopia) and populated by those two quintessential Godard elements: girls and guns.” – Time Out
“…Looking at [Alphaville] again, it’s ever more clearly a genre-art-film lab explosion: equal parts referential film noir, dystopian sci-fi, Godardian self-referentiality, unstable espionage thriller, genre satire, Melvillian-Beckettian existentialism, meditation on proto-semiotic “rupture,” and so on. Still, the miraculous thing about Alphaville is how it mediates the tension between its radical postmod aesthetic approach and its genre elements.” – Sundance Now
- 1/26 | 8:45PM