Many favorites, as well as a small handful of films that I don't care for... in no particular order (1960-2014).
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.
Who shot this thing, Dick Poop? (Spoiler alert)
I'll be here all... well, forever, I'm never shutting down my account.
No rating because I don't how I feel about the movie. Or any movie. Or feelings.
If you rearrange the letters in "Godard" you can spell "rad dog."
"You know, a town with money's a little like a mule with a spinning wheel. Nobody knows how he got it and danged if he knows how to use it!" -- Lyle Lanley
I simply don't feel I have the cultural capital to even begin to really decode this, but I think it's suggesting that words and pictures may no longer be sufficient to make sense of the world around us, that things have mutated so much that we're sort of like a dog trying to interpret humans. We need to learn new tricks. Could be pulling that out of my ass, though.
In any case I was frequently and literally stunned by this, disoriented moment to moment, and it was exhilarating.
“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…
Cat videos are for hacks. Dog videos are for auteurs.
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.
infuriating and occasionally insufferably pedantic and puerile and yet! i watch this and the possibilities of what one can do with image and sound, the poetry of the editing, these are the things that stick with me. also, dog
I'm not even going to pretend I can give this movie a rating, or a review.
this is the worst "movie" I have seen in my life. As a film student, I find outrageous the self-confidence and cockiness of this film. No Godard, you aren't revolutionary, you never actually were ; you're just as the headache left after watching this because of the 3D.
I wish I had seen this in the theater because I think I lost something watching on my tablet. I'm also not sure if some subtitles were missing. I feel like I might have understood it more in a theater setting.
I think the imagery was stunning. Such beautiful shots.
Overall though, I felt like this is an exhibit you would see as you walk through MOMA. Pretentious art is the best description. I liked it though.
I saw someone rate this simply "?" and i think that Is the most insight I can offer aswell.
I've never liked a 3D film until now.
Having seen this in theaters, some of the manipulation of 3D was mesmerizing. However, it is not nearly enough to make up for the non-existent narrative.
By missing out on the 3-D experience, I'm sure that much of the formal experimentation and meaning is lost. Still, there's plenty to glean from Goodbye to Language.
Over-saturated digital colors are juxtaposed with solid black frames. Sounds of nature are mixed at excruciatingly loud volumes until abruptly falling to silence. These are attacks on the film grammar of narrative cinema in their most basic forms, forcing the audience to recognize the medium itself. An edited artificiality is being challenged and exposed.
This is nothing especially new - certainly not for Godard, or for many radical artists who came before or after him. But Godard is building upon a tradition of experimental narrative filmmaking, including decades of his…
Now complete: The Dissolve's 2014 Movies To See Checklist
Originally a list made prior to Cannes 2014, now updated every mid-April.
This is every Palme d'Or nominee since the…