Jean-Luc, Godard, Belmondo, Jean-Paul, Fuller, Samuel, Galvani, Graziella, Karina, Anna, Léaud, Jean-Pierre	...	(Director)
	...	(Writer)
Nancy LaMott	...	Herself - Singer
Sidney Myer	...	Himself - Interviewer
Bob Bendorff	...	Himself - Pianist
Brett LaMott	...	Himself - Drummer
Christopher Marlowe	...	Himself - Pianist
Rick Jensen	...	Himself - Pianist
Steve Bartosik	...	Himself - Percussionist
David Friedman	...	Himself - Pianist
Bruce Samuels	...	Himself - Bass Player
Kevin Kuhn	...	Himself - Guitarist
Robin Lyon	...	Herself - Background Vocalist
Maria Rocco	...	Herself - Background Vocalist
Molly Wasserman	...	Herself - Background Vocalist
David Wilde	...	Himself - Synthesizer Player
Jay Leonhart	...	Himself - Bass Player

Summary: Dissatisfied in marriage and life, Ferdinand (Jean-Paul Belmondo) takes to the road with the babysitter, his ex-lover Marianne Renoir (Anna Karina), and leaves the bourgeoisie behind. Yet this is no normal road trip: genius auteur Jean-Luc Godard s tenth feature in six years is a stylish mash-up of consumerist satire, politics, and comic-book aesthetics, as well as a violent, zigzag tale of, as Godard called them, the last romantic couple. With blissful color imagery by cinematographer Raoul Coutard and Belmondo and Karina at their most animated, Pierrot le fou is one of the high points of the French new wave, and one last frolic before Godard moved ever further into radical cinemaSpecial Features * - SPECIAL EDITION DOUBLE-DISC SET FEATURES: * - New, restored high-definition digital transfer, approved by cinematographer Raoul Coutard * - New video interview with actor Anna Karina * - A "Pierrot" Primer, a new video program with audio commentary by filmmaker Jean-Pierre Gorin * - Godard, l'amour, la poésie, a fifty-minute French documentary about director Jean-Luc Godard and his work and marriage with Karina * - Archival interview excerpts with Godard, Karina, and actor Jean-Paul Belmondo * - Theatrical trailer * - New and improved English subtitle translation * - PLUS: A booklet featuring a new essay by critic Richard Brody, a 1969 review by Andrew Sarris, and a 1965 interview with Godard