It’s no surprise that in undertaking his first 3D project (one third of 3X3D, a triptych that also includes Peter Greenaway and Edger Pêra), Jean-Luc Godard would do so much that everything else yet shot in the format looks meager and infantile by comparison (even the few notable filmmakers to have explored 3D’s potential fall short of Godard’s ambitions: Scorsese, Herzog, Paul W.S. Anderson). Also, it should not have been a surprise that 3D would make perfect sense for Godard’s layering of texts and superimpositions, which command an even greater effect with the extra dimension. All of Godard’s films, are, to an extent, about images, and here as much as ever he concerns himself with the apparatus, perspective, history (through images) and specifically 3D and digital’s impact on these things, as well as on cinema itself.
Adam Cook Continue reading
The story follows a young man in his early twenties named Paul (Jean-Pierre Léaud) who has just gotten out of his required tenure in the French army. He finds himself having difficulty adjusting once more to civilian life, after all, the military was all that he really knew for the last few years of his life. To help find his way back into things, Paul takes up writing and he spends a lot of time putting his thoughts down on paper in a small French café. While killing time in the café one day, by chance Paul meets a beautiful young lady named Madeleine (Chantal Goya) and the two begin talking. As they get to know one another it turns out that she’s an aspiring pop singer who works at a magazine that just so happens to have a use for someone like Paul who is handy with words so she gets him a job. Continue reading
Jean-Luc Godard address two cinematographic letters to young Israeli soldiers who were convicted after refusing to intervene in the occupied territories
Refusal to serve in the IDF is a social phenomenon in Israel in which citizens refuse to serve in the Israel Defense Forces or disobey orders on the grounds of pacifism, antimilitarism, religious philosophy or political disagreement with Israeli policy such as the occupation of the Palestinian territories.
Conscientious objectors in Israel are known as sarvanim which is sometimes translated as “refuseniks”, or mishtamtim (evaders, dodgers) – wikipedia Continue reading
Puissance de la parole is a 25 minutes film made by J-L Godard in 1988. Was financed by France Telecom as a commercial but the company never used for advertising… The film was never officially distributed nor broadcast.
The title is ispired by a Edgar Poe short story (in New extraordinary stories). Godard take some lines from the dialog of Agathos and Oinos and turns it into a classical Godard couple dialog… Continue reading
A short video commissioned by Les Films du Losange as a tribute to Éric Rohmer by his friend and former colleague Jean-Luc Godard, and is the work that directly precedes the release of the 2010 feature Film Socialisme in Godard’s filmography. It was first presented at the Soirée en hommage à Éric Rohmer on February 8, 2010 at the Cinémathèque Française. The short film consists of various titles of articles that Rohmer wrote for Cahiers du Cinema appearing on a black background as Godard’s narration muses about brief, fragmented memories of Rohmer. It ends with a shot of Godard looking directly into the camera, the 16:9 image’s aspect ratio suddenly squished into 4:3, as he finishes his monologue. Continue reading
Jean-Luc Godard’s densely packed rumination on the need to create order and beauty in a world ruled by chaos is divided into four distinct but tangentially related stories, including the attempts by a young group of idealists to stage a play in war-torn Sarajevo and an elderly director’s efforts to complete his film. Continue reading
On the movie :
Numéro Deux, by Jean-Luc Godard and Anne-Marie Miéville, is a 1975 experimental film about a young family in a social housing complex in France. The film’s distinct style involves presenting two images on screen simultaneously, leading to multiple interpretations of the story and to comments on the film-making and editing process.
The film is divided into two parts. For the first third of the movie, Godard discusses what it takes to make a film (money) and describes how he got the money. In the second part, the remaining two thirds, each character in the story discusses their quotidian experiences through dialogue which is primarily poetic, and secondarily political. Continue reading