One thing I noticed is that while it's pretty easy to discover great old movies, it's not as easy to…
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.
If you rearrange the letters in "Godard" you can spell "rad dog."
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.
"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.
Cat videos are for hacks. Dog videos are for auteurs.
Preliminary scattered thoughts at The Film Stage (written literally only 2 hours after its Cannes premiere). 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.
“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 talk about equality and each time you talk about poop.”
Goodbye to Language is certainly one of the more engaging art films you might see in a museum or gallery. One has to give Godard credit for his tireless political, intellectual, and filmic provocations. He's stayed endlessly restless and still pushes the medium as far as it can seemingly go. Did Breathless or Weekend feel this radical when they were each released?
There's some arresting imagery (including the requisite art-film- explicit nudity) and nuggets of compelling philosophy. It's also a mostly abstract, non-sequitur, barely coherent work—at least in any sort of conventional sense. It makes, say, Lynch's Inland Empire seem literal, clear and linear. I admire the skill it takes to make such an alien, inimitable film. But I can't say I really enjoyed it (or can tell you what the hell it's actually about).
It's actually pretty cool when you really think about it.
Background fights foreground. 3D as a global instrument of communication when everything else has been expended or rendered ineffective. The Marvel blockbusters (one of which JLG may have seen in his reported research viewing big tent works at the multiplex) effectively use Post 3D conversion that separates and isolates the crowded chaos of their images. Here Godard intensifies the separations of the format. Interesting to consider the overflow of his extreme saturations in the later works such as this one with the comic book palate of his first color films.
A Bresson-ian composition of a female hand clutching a gate (that shows her as an outsider in the broadest of terms). Here the distence separating foreground and background is a…
The big pleasure to me with this film is the surprising joy for life and overall optimism with which Godard brings to the table. I can't remember if ever he has concluded, if in a pessimistic tone, such a positive view of the evolution to humanity. That the last symbolic image we see is a cover to a Null-A book along with the reoccurring image of Frankenstein is terribly suggestive that the breakdown of language is not man's death, but a rebirth into a new entity. I suspect this also plays into the pun of the title which Godard reminds the audience of continually. It doesn't merely say goodbye to language, but also that à dieu is to language. As…
Not sure if Godard so far ahead with cinematic language that I cannot keep up or he has gone soft in old age
Had my second watch in 2D. Any one that says Godard just put some random footage together should try to replicate and they'll see how hard it is to make a film like this. The visuals are completely captivating, original, and relevant to our age. With the use of GoPro and DV and 3D, it is an exploration of the modern aesthetics, of the very concept of image in our digital age. Great work.
You know it's Goddard film when it features a man and a woman moping around in an apartment philosophizing about stuff
Infelizmente só pude assistir a esta obra em 2D e, com certeza, perdi muito da experiência proposta por Godard. Ademais, o filme é bastante presunçoso e pedante, porém possui seu valor experimental e ótimas referências.
O grande Godard!
Films where their style fills the screen so absolutely, substance is but an afterthought.
Only added some that I've seen,…
Not on Letterboxd:
218. "Camera falls from airplane and lands in pig pen-MUST WATCH END!!"