{"product_id":"breathless-a-bout-de-souffle-勝手にしやがれ-original-japanese-60th-anniversary-4k-restoration-re-release-movie-poster-2022-jean-luc-godard-jean-seberg-jean-paul-belmondo-b2-size-51-73-cm-s263","title":"“Breathless” \/ “À bout de souffle” (勝手にしやがれ), Original Japanese 60th Anniversary 4K Restoration Re-Release Movie Poster 2022, Jean-Luc Godard \/ Jean Seberg \/ Jean-Paul Belmondo, B2 Size (51 × 73 cm) S263","description":"\u003cp dir=\"auto\" class=\"PDq2pG_selectionAnchorContainer\"\u003eThis is an \u003cstrong\u003eoriginal Japanese B2 theatrical poster produced for the 2022 Japanese release of the 60th Anniversary 4K restoration of Jean-Luc Godard’s\u003c\/strong\u003e \u003cem\u003e\u003cstrong\u003eÀ bout de souffle\u003c\/strong\u003e\u003c\/em\u003e (\u003cstrong\u003e勝手にしやがれ \/ Breathless\u003c\/strong\u003e), starring \u003cstrong\u003eJean-Paul Belmondo\u003c\/strong\u003e and \u003cstrong\u003eJean Seberg\u003c\/strong\u003e.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe restoration itself was created in \u003cstrong\u003e2020 to mark the film’s 60th anniversary\u003c\/strong\u003e, with the restored version receiving its Japanese theatrical release on \u003cstrong\u003e29 April 2022\u003c\/strong\u003e, distributed by \u003cstrong\u003eOnly Hearts\u003c\/strong\u003e. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eOriginally released in \u003cstrong\u003e1960\u003c\/strong\u003e, \u003cem\u003eBreathless\u003c\/em\u003e was Godard’s first feature-length film and became one of the defining works of the \u003cstrong\u003eFrench New Wave\u003c\/strong\u003e, radically challenging established ideas of editing, continuity, location shooting and cinematic storytelling.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eFilm background\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eJean-Paul Belmondo\u003c\/strong\u003e plays Michel Poiccard, a young criminal and car thief whose studied cool takes inspiration from the American gangster movies he idolises.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAfter stealing a car in Marseille and killing a motorcycle policeman, Michel travels to Paris, where he reconnects with \u003cstrong\u003ePatricia Franchini\u003c\/strong\u003e, played by Jean Seberg, an American student and aspiring journalist who sells the \u003cem\u003eNew York Herald Tribune\u003c\/em\u003e on the Champs-Élysées.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eMichel wants Patricia to escape with him to Italy, but their relationship becomes increasingly uncertain as the police close in.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe film was based on a story by \u003cstrong\u003eFrançois Truffaut\u003c\/strong\u003e, with \u003cstrong\u003eClaude Chabrol\u003c\/strong\u003e serving as technical adviser, bringing together several of the central figures of the emerging Nouvelle Vague.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eGodard and cinematographer \u003cstrong\u003eRaoul Coutard\u003c\/strong\u003e shot extensively on the streets of Paris with lightweight equipment and available light, while the film’s celebrated use of \u003cstrong\u003ejump cuts\u003c\/strong\u003e shattered conventional continuity editing and gave the picture a restless, spontaneous rhythm that became enormously influential.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eJean Seberg and Jean-Paul Belmondo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe pairing of \u003cstrong\u003eBelmondo and Seberg\u003c\/strong\u003e became one of the enduring images of European cinema.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eBelmondo’s Michel—with his fedora, cigarette and fascination with Humphrey Bogart—embodies a deliberately self-conscious form of movie-star cool.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eSeberg’s Patricia provides an entirely different kind of modern screen presence.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eHer cropped hair, casual clothes and famous \u003cstrong\u003eNew York Herald Tribune\u003c\/strong\u003e T-shirt became inseparable from the film’s visual identity, while her performance gives Patricia an ambiguity that refuses the conventional romantic heroine role.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eTogether, they helped establish a new cinematic image of \u003cstrong\u003eyouth, fashion, rebellion and emotional detachment\u003c\/strong\u003e at the beginning of the 1960s.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003ePoster design\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe 2022 Japanese poster is exceptionally restrained, allowing one of the film’s most famous images to occupy almost the entire B2 sheet.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe photograph, credited directly on the poster to legendary Nouvelle Vague still photographer \u003cstrong\u003eRaymond Cauchetier\u003c\/strong\u003e, shows \u003cstrong\u003eMichel and Patricia walking together through Paris\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eBelmondo wears his familiar suit, tie and fedora with a cigarette held casually in his mouth, while Seberg walks beside him carrying copies of the \u003cstrong\u003eNew York Herald Tribune\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eRather than using a conventional film still, the design draws upon Cauchetier’s remarkable photographic documentation of the production. His photographs helped define the public image not only of \u003cem\u003eBreathless\u003c\/em\u003e but of the French New Wave itself.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe black-and-white image has a relaxed, almost documentary quality: parked cars, trees, pavement and Parisian architecture surround the two actors without any attempt to turn the setting into a polished studio fantasy.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThat informality is perfectly appropriate to Godard’s film.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eTypography\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAt right, the original French title:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eA BOUT DE SOUFFLE\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eis set in elegant, extremely thin white lettering.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eImmediately beneath appear:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eGEORGES DE BEAUREGARD PRESENTS\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eA FILM BY JEAN-LUC GODARD\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eJEAN SEBERG\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eJEAN-PAUL BELMONDO\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe typography is intentionally understated, allowing the photograph itself to remain dominant.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAcross the lower portion, however, the Japanese title:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e勝手にしやがれ\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003ecuts dramatically through the monochrome image in \u003cstrong\u003ebrilliant red\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe contrast is exceptionally effective: almost the entire composition remains black, white and grey before being punctuated by the saturated Japanese title.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eRather than translating the French title \u003cem\u003eÀ bout de souffle\u003c\/em\u003e literally—approximately “out of breath”—the Japanese title \u003cstrong\u003e勝手にしやがれ\u003c\/strong\u003e carries a much more defiant sense: roughly \u003cstrong\u003e“Do as you please”\u003c\/strong\u003e, \u003cstrong\u003e“Suit yourself”\u003c\/strong\u003e, or even \u003cstrong\u003e“Do whatever the hell you want.”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt has become one of the most memorable Japanese foreign-film titles of the post-war era.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e“最低って何のこと？”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eRunning vertically down the left side appears the famous line:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e「最低って何のこと？」\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eApproximately:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e“What does ‘disgusting’ mean?” \/ “What do you mean, ‘the worst’?”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe phrase refers directly to the film’s celebrated final exchange.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAfter Michel is shot and collapses in the street, his final words about Patricia are relayed to her by the policeman. Patricia responds with this famously ambiguous question before turning toward the camera.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe line’s meaning has been debated for decades because the French word used in the exchange—\u003cstrong\u003edégueulasse\u003c\/strong\u003e—can carry several shades of meaning, from “disgusting” or “lousy” to something more morally contemptuous.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eBy isolating \u003cstrong\u003e「最低って何のこと？」\u003c\/strong\u003e on the left edge, the Japanese poster turns one of cinema’s most discussed endings into its principal promotional hook.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eRaymond Cauchetier\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe bottom-left corner explicitly credits:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003ePhoto © Raymond Cauchetier\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eCauchetier was one of the great photographic chroniclers of the Nouvelle Vague, working on productions by \u003cstrong\u003eGodard, François Truffaut, Jacques Demy, Claude Chabrol\u003c\/strong\u003e and others.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eHis photographs frequently captured actors between takes or production activity outside the formal frame of the finished film, creating an invaluable visual record of the movement.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis particular image of \u003cstrong\u003eBelmondo and Seberg walking through Paris\u003c\/strong\u003e has become one of the most recognisable photographs associated with \u003cem\u003eBreathless\u003c\/em\u003e and encapsulates much of what made the film feel new: youthful, casual, stylish and apparently liberated from the machinery of traditional studio filmmaking.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eThe 4K restoration\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe restoration used for this release was produced to commemorate the film’s \u003cstrong\u003e60th anniversary\u003c\/strong\u003e and was created from the original negative, with careful attention to the characteristics of the different film stocks used during production.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe restored version premiered internationally in connection with the anniversary before receiving its first Japanese theatrical release in \u003cstrong\u003e2022\u003c\/strong\u003e. Japan opened the film on \u003cstrong\u003e29 April 2022\u003c\/strong\u003e, two weeks after a restored edition of Godard’s \u003cem\u003ePierrot le Fou\u003c\/em\u003e, as part of a renewed theatrical celebration of the director’s work. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe poster reflects that restoration philosophy particularly well: rather than redesigning \u003cem\u003eBreathless\u003c\/em\u003e as a contemporary product, it returns to the film’s own photographic history.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eCultural significance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFew debut features altered cinema as profoundly as \u003cem\u003e\u003cstrong\u003eBreathless\u003c\/strong\u003e\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eGodard’s jump cuts, fragmented dialogue, direct address, street photography and indifference to traditional continuity rules became foundational to generations of filmmakers.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIts influence extends far beyond the French New Wave, reaching \u003cstrong\u003eNew Hollywood, independent cinema, music videos, fashion photography and contemporary visual culture\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eYet the film’s cultural endurance is also inseparable from its two stars.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eBelmondo and Seberg remain instantly recognisable more than six decades later, and this poster wisely reduces the campaign to those two figures simply walking through Paris.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt is an exceptionally elegant modern Japanese design for one of the central films of twentieth-century cinema.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eExcellent+ original condition overall.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003ePlease review all photographs carefully; they show the \u003cstrong\u003eexact poster for sale, front and reverse\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis is an \u003cstrong\u003eoriginal Japanese B2 theatrical poster from the 2022 Japanese release of the 60th Anniversary 4K restoration of\u003c\/strong\u003e \u003cem\u003e\u003cstrong\u003eBreathless\u003c\/strong\u003e\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt is \u003cstrong\u003enot a reproduction or a later decorative reprint\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eCertificate of Authenticity included.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eCode: S263\u003c\/strong\u003e\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57283687481722,"sku":null,"price":200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/wall-shelf-with-ornaments_43_6001b56b-62ba-4794-a19b-012cb9b500ba.jpg?v=1789765913","url":"https:\/\/japanposter.co.uk\/products\/breathless-a-bout-de-souffle-%e5%8b%9d%e6%89%8b%e3%81%ab%e3%81%97%e3%82%84%e3%81%8c%e3%82%8c-original-japanese-60th-anniversary-4k-restoration-re-release-movie-poster-2022-jean-luc-godard-jean-seberg-jean-paul-belmondo-b2-size-51-73-cm-s263","provider":"Japan Poster Shop","version":"1.0","type":"link"}