In the musical compositions of his films, Jean-Luc Godard invites us to hear how he listens to musical works, invents arrangements with the means of the cinema that could bear a double signature such as Beethoven-Godard, Dvořák-Godard, as the arrangements of the musicians Beethoven-Liszt or Bach-Webern. For this study, we have chosen to focus on works for cello, instrument for which Godard seems to have a predilection as for bowed strings in general for the plasticity of the sound material. We analyze the arrangement of the Concerto for Cello and Orchestra in B minor, op. 104 by Antonin Dvořák (1895) in Je vous salue, Marie (1983), and the conversation between two composers and performers, Godard on the editing bench and David Darling, with his eight-string cello and the original works created for the filmmaker.