' ].join(''); if ( adsScript && adsScript === 'bandsintown' && adsPlatforms && ((window.isIOS && adsPlatforms.indexOf("iOS") >= 0) || (window.isAndroid && adsPlatforms.indexOf("Android") >= 0)) && adsLocations && adsMode && ( (adsMode === 'include' && adsLocations.indexOf(window.adsLocation) >= 0) || (adsMode === 'exclude' && adsLocations.indexOf(window.adsLocation) == -1) ) ) { var opts = { artist: "", song: "", adunit_id: 100005950, div_id: "cf_async_35aff8db-a263-4171-bad5-1d6abceaba2b" }; adUnit.id = opts.div_id; if (target) { target.insertAdjacentElement('beforeend', adUnit); } else { tag.insertAdjacentElement('afterend', adUnit); } var c=function(){cf.showAsyncAd(opts)};if(typeof window.cf !== 'undefined')c();else{cf_async=!0;var r=document.createElement("script"),s=document.getElementsByTagName("script")[0];r.async=!0;r.src="//srv.tunefindforfans.com/fruits/apricots.js";r.readyState?r.onreadystatechange=function(){if("loaded"==r.readyState||"complete"==r.readyState)r.onreadystatechange=null,c()}:r.onload=c;s.parentNode.insertBefore(r,s)}; } else { adUnit.id = 'pw-35aff8db-a263-4171-bad5-1d6abceaba2b'; adUnit.className = 'pw-div'; adUnit.setAttribute('data-pw-' + (renderMobile ? 'mobi' : 'desk'), 'sky_btf'); if (target) { target.insertAdjacentElement('beforeend', adUnit); } else { tag.insertAdjacentElement('afterend', adUnit); } window.addEventListener('DOMContentLoaded', (event) => { adUnit.insertAdjacentHTML('afterend', kicker); window.ramp.que.push(function () { window.ramp.addTag('pw-35aff8db-a263-4171-bad5-1d6abceaba2b'); }); }, { once: true }); } } tag.remove(); })(document.getElementById('script-35aff8db-a263-4171-bad5-1d6abceaba2b'));
Synopsis
Freedom is costly
A symphony in three movements. Things such as a Mediterranean cruise, numerous conversations, in numerous languages, between the passengers, almost all of whom are on holiday... Our Europe. At night, a sister and her younger brother have summoned their parents to appear before the court of their childhood. The children demand serious explanations of the themes of Liberty, Equality and Fraternity. Our humanities. Visits to six sites of true or false myths: Egypt, Palestine, Odessa, Hellas, Naples and Barcelona.
' ].join(''); if ( adsScript && adsScript === 'bandsintown' && adsPlatforms && ((window.isIOS && adsPlatforms.indexOf("iOS") >= 0) || (window.isAndroid && adsPlatforms.indexOf("Android") >= 0)) && adsLocations && adsMode && ( (adsMode === 'include' && adsLocations.indexOf(window.adsLocation) >= 0) || (adsMode === 'exclude' && adsLocations.indexOf(window.adsLocation) == -1) ) ) { var opts = { artist: "", song: "", adunit_id: 100005950, div_id: "cf_async_b2a35461-100b-4193-a01b-071d19b884a7" }; adUnit.id = opts.div_id; if (target) { target.insertAdjacentElement('beforeend', adUnit); } else { tag.insertAdjacentElement('afterend', adUnit); } var c=function(){cf.showAsyncAd(opts)};if(typeof window.cf !== 'undefined')c();else{cf_async=!0;var r=document.createElement("script"),s=document.getElementsByTagName("script")[0];r.async=!0;r.src="//srv.tunefindforfans.com/fruits/apricots.js";r.readyState?r.onreadystatechange=function(){if("loaded"==r.readyState||"complete"==r.readyState)r.onreadystatechange=null,c()}:r.onload=c;s.parentNode.insertBefore(r,s)}; } else { adUnit.id = 'pw-b2a35461-100b-4193-a01b-071d19b884a7'; adUnit.className = 'pw-div -tile300x250 -alignleft'; adUnit.setAttribute('data-pw-' + (renderMobile ? 'mobi' : 'desk'), 'med_rect_atf'); if (target) { target.insertAdjacentElement('beforeend', adUnit); } else { tag.insertAdjacentElement('afterend', adUnit); } window.addEventListener('DOMContentLoaded', (event) => { adUnit.insertAdjacentHTML('afterend', kicker); window.ramp.que.push(function () { window.ramp.addTag('pw-b2a35461-100b-4193-a01b-071d19b884a7'); }); }, { once: true }); } } tag.remove(); })(document.getElementById('script-b2a35461-100b-4193-a01b-071d19b884a7'));
More
-
Still the powerhouse that changed my world when I was 19. Reminds me of that purported Rossellini quote, “I am not a pessimist; to perceive evil where it exists is, in my opinion, a form of optimism.” What other film fights so passionately for the future? No wonder so many people hated it when it came out, Godard puts his faith in those who are 20 years old and younger. Tag Gallagher's words on 7 Women are equally as applicable. "..a movie made by a man struggling against the despair fomented in him by the world, and yet also possessed of a faith, inexplicable even to himself, and therefore of a value he doubts but cannot avoid affirming, which allows…
-
I revisit this movie every few years, which must mean I like it. In fact, I'm even going to press the heart button. One of the main reasons I revisit this so often is because of how beautiful it is. High-res digital, low-res digital, crappy cell-phone video, archival footage fed through a digital meat-grinder until the colours are ready to pop... for a man who was so despairing about the state of the world, it's inspiring how much energy Godard got from finding the beauty in new technology. I also recommend watching it with headphones to appreciate the insane sound mix.
When I'm watching Late Godard, I often don't know whether I should be looking up every reference, or just…
-
Still remember the Ebert Presents At the Movies debate over this: Ignatiy Vishnevetsky responding to Christy Lemire's claim that he wouldn't like the film if he didn't know Godard had directed it by saying that context is everything and the film is strengthened by reading it within his body of work always stuck with me.
Anyway, learned during the Q&A with Nico Baumbach that the "reason" for the llama at the gas station is that there was a llama at the gas station and Godard just decided to film it. I think people tend to overdetermine the relationship between late Godard's choice of images and their "meaning." Much of that meaning, which I might prefer to call commentary to differentiate…
-
Jean-Luc Godard’s “Film Socialisme” is constructed as a cinematic symphony in three acts. It rather, comes across as three separate pieces of music, played by three different orchestras of varying skill and style; all three times, conducted by the same madman of a conductor; Godard himself, naturally.
While Godard in his later career became adept at ripping up the foundations of what makes a film, a film - “Socialisme” seems as if he seeks to create a decoupage from the fragments of his own decimation. Only, he’s missing a glue stick to make all the pieces stick together.
The director, at least, seems in on the knowing chaos of “Socialisme,” having accompanied its polemic reception with a four minute ‘fast…
-
cinema as the re-transformation of language back into hieroglyphs -- the kino-image replaces all the false gods of money and ideology, communicates in cosmic terms, de-habitualizes, de-marcates, and of course, de-stroys. before the image is manifested as a story or a poem, it is a space, a geometry, a geography, an arena of struggle, the horizon shift between heaven and earth -- any painter will tell you that the basis of all their work is the division between the dot, which is wholeness, and the line, which is dialectic; zeroes and ones, 0 & 1, the foundation of digital systems -- meaning that image-craft has always been based in the digital, and has spent millennia waiting to reveal itself to us…
-
the gold standard for how to make a digital film, as far as i'm concerned. godard was always a precise artist, but the sheer variety of ideas here is not easily matched by other directors -- he is so consistent, so unaffected, yet extremely sensitive to his environment and the way he perceives it, nothing is taken for granted here, it is strict but also relaxed artistry. one thing he carried over from his old hollywood heroes is a total lack of self-preening and a love for images-as-images -- this is the anti-mannerist manifesto, the type of picture that cinema needs to survive the AI age of the feuilleton.
-
At the gas station, the girl is leaning against the white pillar between the green and yellow pumps. Her dress is white with mostly orange stripes. The book in her hand is green and yellow to match the pumps. The unusual continuity of color between book and pumps (and trash can) pulls the eyes to the book, as it stands out most against the background of dress and pillar, and perhaps that was the point of the detail, but it really just feels like Godard is kinda showing off. He's just like, "fuck it, let's make everything look like swamp and we'll use strong line patterns to pull your eyes where I fucking want them* and you're gonna try to…
-
“Your mother was a hamster, and your father liked Jean-Luc Godard movies.”
-
JLG has faith in me as a viewer, and he has faith in my generation and our ability to change the world. I really appreciate that, it means a lot to me. The wisest people know how to learn from those younger than them, and he is one of the wisest. He is an old man but this film is young. One of the essential films of the last decade.
-
"speak never enough"
This one was a tough sit for me. The combination of Godard deliberately designing it to be mostly inaccessible to non French speaking audiences (the subtitles are incomplete and the words in sentences that are presented are often not done so in order)and an unfamiliarity with the specific contemporary social issues he's addressing here makes it difficult to access the material. The fact that he gives no real way in by not really contextualizing things well doesn't help. For a film that so clearly seems to want to touch on issues important to the director, it has some real "if you don't get it that's not my problem energy" that seems at odds with raising awareness or…
-
As cinema evolves, Godard realizes that words have become meaningless to others. We see words as text while Godard understands that a word is an image in itself. One of the most important films of the century and one of Godard’s best. Revolutionary.
-
Jean-Luc Godard's Film Socialisme only makes sense if you watch it as a building block to his much-better and most recent film Goodbye to Language. As he has often done during his long career, Godard explores a theme in one film and takes it even farther in the next film. In Film Socialisme, Godard begins to play with using film technology against itself--something he does to extreme effect in Goodbye to Language with 3D technology. In Film Socialisme, Godard plays with digital film, showing its advantages and disadvantages with humorous and bizarre results.
Film Socialisme has no narrative. You could try to piece something out of the images and dialogue, but I think you'd be wasting brain power by doing…
