Jean-Luc Godard, Jean-Pierre Gorin – Le vent d’est AKA Wind From the East (1970) (HD)

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“Wind From the East” (“Le Vent D’Est”) is a very deep and highly political discussion about communism, capitalism, art, revolution, intellectualism, Maoism, USSR, tradition, paradigms, poetry… It’s hard to put it in terms of “it’s about…”, since the sequence of images is not based in any form of traditional narrative. In fact, it’s the very opposite of it, its essence sprouting from the need of subversion, a need directly connected to the social/historical/political/artistic context of the 60’s and 70’s: to show things in a different way leads the viewer to see differently, therefore to think differently. A experimental cut, poetic even, given the metaphorical quality of the images. The frontiers of film language fades and encounters those of other art forms, not to weaken the film unity nor its message, but to strengthen them both. Continue reading

Jean-Luc Godard & Jean-Pierre Gorin – Letter to Jane: An Investigation About a Still (1972)

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Synopsis:

A propaganda photo of Jane Fonda talking to, or perhaps listening to, a Vietnamese militant provides the jumping off point for one of cinema’s most stringent semiotic analyses in Jean-Luc Godard and Jean-Pierre Gorin’s singular Letter to Jane: An Investigation About a Still. Ostensibly an explanation of Godard’s choice to include a non-diegetic photograph of star Jane Fonda in his promotional materials for Tout va bien, the film is more accurately described as having not Fonda, but the entire apparatus of commercial image-making, as its real target. The basic question at hand here, “What role should intellectuals play in revolution?” is complicated by Godard’s insistence upon the power of media to provide latent insight into the uncaring, status-quo preserving power of capitalism. Continue reading

Jean-Luc Godard & Jean-Pierre Gorin – Tout Va Bien (1972)

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In 1972, newly radicalized Hollywood star Jane Fonda joined forces with cinematic innovator Jean-Luc Godard and collaborator Jean-Pierre Gorin in an unholy artistic alliance that resulted in Tout va bien (Everything’s All Right). This free-ranging assault on consumer capitalism and the establishment left tells the story of a wildcat strike at a sausage factory as witnessed by an American reporter (Fonda) and her has-been New Wave film director husband (Yves Montand). The Criterion Collection is proud to present this masterpiece of radical cinema, a caustic critique of society, marriage, and revolution in post-1968 France.
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Jean-Luc Godard & Jean-Pierre Gorin – Le vent d’est AKA East Wind (1970)

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Two voices. One French, one American. A political tract concerning the issues of Communism in the workplace and ideals of freedom and equality, post-May, 1968, is recited back and forth over an obscured image of bodies slumbering in what appears to be a garden. The image is pastoral and idyllic in presentation, suggesting an almost abstract quality devoid of time and place. After a series of static images that simply observe these scenarios – largely with no real movement within the frame – we see a small group of actors preparing themselves for a film. As we continue, these actors, who speak Italian and are dressed in period costume, wander through this idyllic location as the narration goes on to discuss a cinema of revolution and the history of politics in cinema dating as far back as Sergei Eisenstein. Through this, the filmmakers are able to reflect on the notions of politics and history in both a cultural and cinematic sense; creating in the process a film that collapses elements of genuine historical fact, and superimposes them over the struggles and issues of the present day. Continue reading