Now complete: The Dissolve's 2014 Movies To See Checklist
Goodbye to Language
About a man who’s angry at his wife because she’s met another man on a park bench and they no longer even speak the same language.
Here's a link to download the film in anaglyph 3D (the red/cyan kind), for those who want to see the film but don't live where it's screening, or who want to re-watch it but don't have a 3D TV, or who are curious about what an anaglyph version of this film would look like:
Link expires on Xmas eve.
See, now this is the sort of film we like, a film which in brash pursuit of its muse has no compunctions about causing deep confusion, headaches, panic attacks, eye strain, epileptic fits, nausea digestive and existential, spontaneous weeping, acid flashbacks, ruptured eardrums, detached retinae, cerebral contusions, painful orgasms in genital and nongenital areas, liver damage, boils, premature balding, lewdly-shaped fungal growths, addictions to drugs not yet synthesized, plague, a smoky fragrant smell with no determinable source, or third-degree Mallarmé in the spectator.
A total cinema
By the extremity of reality
Seen through a dog's gaze.
The new Frankenstein
Breaks free from kamera.
Preliminary scattered thoughts at The Film Stage. Theoretically, this is the miracle that answers the dilemma of Historie(s) Du Cinema: Cinema as document vs. Cinema as art. Arnheim's Total Cinema and Bazin's Total Realism have long stood opposite for each other. Through the use of 3D flip cams, Godard proposes that a Total Cinema is simply a Total Realism. In essence, this is a film that introduces us to the image without language or metaphor. It is instead the image of pure reality, and thus pure freedom.
The work of an artist who does not give a fuck. Who doesn’t hesitate to hack up the soundtrack or switch to low-grade digital handheld or do things the ostensibly wrong way. Sometimes Adieu au langage will try to piss off its audience. Sometimes it’s as if the film were trying to tunnel back up into the womb from which cinema was born. Briefly, it becomes a period piece about Mary and Percy Shelley. No formula is followed, no rules obeyed. The only guiding principle is a deathless curiosity about how else the world might be experienced. As is typical with Godard, the film is dense with allusions to art and history, though these are layered atop lyrical interludes spent…
“soon, people will need interpreters to understand the words coming out of their own mouths.”
you can say that again.
if ever stars were meaningless... easily the most fascinating and hostile use of 3D i've ever seen in a feature, puts image in direct conflict with meaning, encouraging viewers to see what we don't see. that often translates into watching a man fondling a naked woman's ass as he takes a massive liquid shit. in 3D.
the split-image stuff makes for some of the most sublime moments i've had at the movies this year – as your eyes cross and then individually close, you can practically feel the synapses latching onto each other in your brain.
can't claim to have…
I hate characters.
There have been quite a few times in my film watching history when after seeing a fantastic shot of a landscape or something similar I've gasped in sheer delight. But never has a single shot (or two) made my jaw drop and eyes grow wide until now. The cinema screen splits in two, but only, it's still one. When I realised that if I looked through one eye I could see a completely different shot than if I looked through the other one - I simply could not believe it. This is an experience, primarily and wholly. Our perspective is the way we see the world and we're being shown here how easily it can be affected…
After hearing a lot of enthusiasm for this film, and how it won the Jury Prize alongside Mommy, and that it was revered to the Heavens by a lot of film buffs, of course I got excited.
As I started the film, I was hooked - then, it kept going. That moment of elation began to turn into frustration. By the end of the film I was furious.
Now, mind you, I have heard of Godard and saw many of his films: Breathless, Band of Outsiders, Contempt, Vivre sa Vie, Weekend, 2 or 3 Things I Know About Her, Pierrot le Fou, Une Femme et Une Femme. So, I am very well-versed in Godard's style of filmmaking. The first three…
Godard's best movie in years. The 83 year old filmmaker imbues his expected philosophical musings with a lively energy that's been on low burn for the past 25 years. The film is great fun. It's 70 minutes long and all of them are delightful. Might revise and bump to a 4.5 soon.
I no longer hate Jean-Luc Godard.
This film is shockingly brilliant. Pure art.
Each and every frame is stunning.
It's also the best dog movie of all time.
Godard's made the world's first super-movie. He uses 3D as an evolution of classic Soviet montage, combining ideas within a single frame rather than juxtaposing them with editing. As revolutionary as Breathless. Holy shit.
Definitely not a film that's meant to be enjoyed in the traditional sense, but Godard's use of 3D is wicked. Almost hostile in its approach.
Visually arresting in very literal way, I'm confident when I say Adieu Au Langage is quite unlike anything I've seen before, and that it's one of the most artistically realized films I've seen all year. I can't say I understood everything, but I could tell that Godard had a pretty good handle on what he was trying to say. It's certainly an interesting piece to mull over and discuss.
It made my eyes hurt... In a good way. I think.
It's kind of a shame that Godard's not queer. What a waste. Also that fella in the film has super-gross feet; she should have dumped him on that basis alone.
Deeply pessimistic of humanity. Fragmentary. Elliptical.
I think I prefer Godard when I don't feel the need to understand him. This is one of those times.
Μετά από χιλιάδες χρόνια, τα πρώτα ζώα που θα μιλήσουν θα είναι τα σκυλιά.
brave experimentation from a master craftsman. a true movie lover should never miss this one.
- Stranger by the Lake
- The Lego Movie
- The Grand Budapest Hotel
- Under the Skin
- Tropical Malady
- Uncle Boonmee Who Can Recall His Past Lives
- Inland Empire
Many favorites, as well as a small handful of films that I don't care for... in no particular order (1960-2014).
- The Captive
- Clouds of Sils Maria
- Goodbye to Language
- The Homesman
Originally a list made prior to Cannes 2014.
This is every Palme d'Or nominee since the festival began in 1946.…