I received a comment early this morning from someone at the Cinémathèque Française announcing that Godard's new homage-film for Eric Rohmer had been placed on the organization's site, here. The page also includes video of remarks by Toubiana, Douchet, Chabrol, and Barbet Schroeder, alongside comments from Arielle Dombasle, Fabrice Luchini, Frédéric Mitterand, and a collection of Rohmer's actors and collaborators. I've embedded Godard's film here.
Hommage à Eric Rohmer by Jean-Luc Godard, 2010
Last month after news about the Godard film broke I posted the following:
I woke up this morning to find an email from Andy Rector, via Samuel Bréan who wrote: "In this week's issue of Les Inrockuptibles (742, 17/2/2010), Jean-Marc Lalanne describes the recent evening that the Cinémathèque Française dedicated to Eric Rohmer, with onstage tributes by collaborators, a screening of Le genou de Claire, etc."
The article ends with the following (my translation appears below the French version) —
Mais le choc de la soirée vint de la découverte d'un petit film signé Jean-Luc Godard réalisé pour l'occasion. Sur un écran noir se succèdent les titres des plus célèbres articles de Rohmer dans les Cahiers. En voix off, Godard évoque des images sorties des limbes : deux jeunes amis, parlant ensemble dans la nuit ; les mêmes dans la cuisine de la mère de l'un, leur préparant à manger, débattant encore de films... Rarement on avait entendu Godard parler de choses si personnelles, très simples et très nues. Le film se clôt sur un plan furtif du cinéaste, un peu hagard face à sa webcam. Déjà il a disparu. On aimerait le retenir. On aimerait les retenir tous les deux.
But the shock of the evening came with the discovery of a small film by Jean-Luc Godard created for the occasion. Over a black screen, the titles of Rohmer's most famous articles from the Cahiers appear one after another. In voice-over, Godard evokes images pulled from the ether: two young friends, speaking to one another through the night; the same pair in the kitchen of one of their mothers, making food, going back and forth discussing films... Rarely have we heard Godard speak of such personal things, very simple and very exposed. The film closes with a furtive shot of the filmmaker, face slightly haggard in his webcam. With that, he's gone. You want to hold onto him. You want to hold onto both of them.
A piece I wrote about Rohmer on the day his death was announced appears here.
Tributes by Louis Skorecki and Michel Mourlet appear here.
"Gainsbourg's lyrics [as sung by France Gall] obviously have nothing to do with the worldview expressed by other teenage vocalists of the time; of course the world [of those vocalists] has its charms, but it has not a single atom of depth. In the lyrics of Gainsbourg's songs in general, and "Laisse tomber les filles" in particular, there is a startling lucidity coupled with a refusal to be taken in by "the great farce of love", defined in terms of "never" and "always". But, with "Laisse tomber les filles", we are not presented with a male narrator of thirty or thirty-five years, but rather a teenager." —Gilles Verlant, Gainsbourg 
"In the Mouth a Desert" "Trigger Cut" "Elevate Me Later" "Shady Lane" "Father to a Sister of Thought" "Rattled by the Rush" "Perfume-V" "Summer Babe" "Kennel District" "Silence Kit" "Range Life" "Unfair" "Stop Breathin'" "No Life Singed Her" "Fight This Generation" "Date w/ IKEA" "Box Elder" "Grounded" "Gold Soundz" "The Hexx" "Give It a Day" "Cut Your Hair"
"Stereo" "Spit on a Stranger" "Conduit for Sale!" "Loretta's Scars" "Here*"
"For [so-and-so, in dedication]" (exception: the Histoire(s) du cinéma, which invented the practice in cinemaville)
"from the likes of Pauline Kael"
"heart-rending final scene"
"heart-rending final sequence"
"I found myself unprepared for the emotional wallop"
"in the history of the cinema"
"is to be commended for"
"Love it or hate it, ... "
"my star-clotted majesty"
"one of the most beloved"
"played by the incomparable [so-and-so]"
"reading of the film"
"that would change cinema forever"
"that would change the movies forever"
"the greatest ____________ of his/her generation"
"there's nothing else like it" (also: "there's absolutely nothing else like it")
"tissue of lies"
"two or three things"
"Unfortunately, compared with Rohmer's earlier work, in particular the series known as 'Six Moral Tales,' The Romance of Astrea and Celadon has little to say about eros that's still relevant. It's a film so embarrassingly quaint it's crying out for a parody called Not Another Medieval Movie."