Swiss writers in French

Jean-Luc Godard (UK: GOD-ar, US: goh-DAR; French: [ʒɑ̃ lyk ɡɔdaʁ]; 3 December 1930 – 13 September 2022) was a French and Swiss film director, screenwriter, and film critic. He rose to prominence as a pioneer of the French New Wave film movement of the 1960s, alongside such filmmakers as François Truffaut, Agnès Varda, Éric Rohmer and Jacques Demy. He was arguably the most influential French filmmaker of the post-war era. According to AllMovie, his work "revolutionized the motion picture form" through its experimentation with narrative, continuity, sound, and camerawork. His most acclaimed films include Breathless (1960), Vivre sa vie (1962), Contempt (1963), Band of Outsiders (1964), Alphaville (1965), Pierrot le Fou (1965), Masculin Féminin (1966), Weekend (1967) and Goodbye to Language (2014).During his early career as a film critic for the influential magazine Cahiers du Cinéma, Godard criticised mainstream French cinema's "Tradition of Quality", which de-emphasised innovation and experimentation. In response, he and like-minded critics began to make their own films, challenging the conventions of traditional Hollywood in addition to French cinema. Godard first received global acclaim for his 1960 feature Breathless, helping to establish the New Wave movement. His work makes use of frequent homages and references to film history, and often expressed his political views; he was an avid reader of existentialism and Marxist philosophy, and in 1969 formed the Dziga Vertov Group with other radical filmmakers to promote political works. After the New Wave, his politics were less radical, and his later films came to be about human conflict and artistic representation "from a humanist rather than Marxist perspective."Godard was married three times, to actresses Anna Karina and Anne Wiazemsky, both of whom starred in several of his films, and later to his longtime partner Anne-Marie Miéville. His collaborations with Karina — which included such critically acclaimed films as Vivre sa vie (1962), Bande à part (1964) and Pierrot le Fou (1965) — were called "arguably the most influential body of work in the history of cinema" by Filmmaker magazine. In a 2002 Sight & Sound poll, Godard ranked third in the critics' top ten directors of all time. He is said to have "generated one of the largest bodies of critical analysis of any filmmaker since the mid-twentieth century." His work has been central to narrative theory and has "challenged both commercial narrative cinema norms and film criticism's vocabulary." In 2010, Godard was awarded an Academy Honorary Award.

Anne Louise Germaine de Staël-Holstein (French: [an lwiz ʒɛʁmɛn də stal ɔlstajn]; née Necker; 22 April 1766 – 14 July 1817), commonly known as Madame de Staël (French: [madam də stal]), was a prominent woman of letters and political theorist in both Parisian and Genevan intellectual circles. She was the daughter of banker and French finance minister Jacques Necker and Suzanne Curchod, a respected salonhostess. Throughout her life, she held a moderate stance during the tumultuous periods of the French Revolution and the Napoleonic era, persisting until the time of the French Restoration.Her presence at critical events such as the Estates General of 1789 and the 1789 Declaration of the Rights of Man and of the Citizen underscored her engagement in the political discourse of her time. However, Madame de Staël faced exile for extended periods: initially during the Reign of Terror and subsequently due to personal persecution by Napoleon. She claimed to have discerned the tyrannical nature and ambitions of his rule ahead of many others.During her exile, she fostered the Coppet group, a network that spanned across Europe, positioning herself at its heart. Her literary works, emphasizing individuality and passion, left an enduring imprint on European intellectual thought. De Staël's repeated championing of Romanticism contributed significantly to its widespread recognition.While her literary legacy has somewhat faded with time, her critical and historical contributions hold undeniable significance. Though her novels and plays may now be less remembered, the value of her analytical and historical writings remains steadfast. Within her work, de Staël not only advocates for the necessity of public expression but also sounds cautionary notes about its potential hazards.