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Starring Godard's then-wife, Anna Karina, as a beautiful young woman who's sliding into prostitution, My Life to Live is about the exploitation of women by directors and other pimps, but it's also about freedom and identity and language and thought-basically, life and death and the existential chasm between.

And, as such, it shows a lingering regard for story and character, though (like most of Godard's early work) it both constructs and deconstructs story and character. This 1962 film is 'early Godard'-the first to make it to our shores after Breathless ( The Little Soldier and A Woman Is a Woman having gotten lost in the shuffle). As part of its Blowup Cinema series, the Wisconsin Union Directorate Film Committee is screening Godard's My Life to Live on Friday, Sept. If he gets forgotten, nothing else will be much worth remembering. He perhaps hasn't helped himself by creating films and videos that break every rule for pulling in an audience, but isn't that all the more reason to give him his due? Like the canary sent down into the mine, Godard is our way of telling whether cinema, 100 years after its birth, still has any air to breathe.

But as each year passes and the Hollywood film casts a larger and larger shadow over the rest of world cinema, Godard's candle burns less and less bright, flickering amid the winds of change. Ever since the debut of Breathless in 1959, Godard has been a force to reckon with-the epitome of anti-Hollywood filmmaking, despite his love for many Hollywood films. Perhaps no living director deserves a complete retrospective of his work more than France's Jean-Luc Godard, who's had an enormous influence on world cinema but whose films and (now, mostly) videos are often difficult, if not impossible, to track down.

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