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.
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.
“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…
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.
Really confusing, but really beautiful, interesting and poetic. Although slightly aggressive to its audience, Godard presents really powerful philosophic statements and a view of the world and the human kind, love and (obviously) language (or its loss in this 3D world full of wars) both visually and through words and music. It stays with you and makes you think.
Like many latter-day Godard films, this is almost anti-narrative, or at least an audience tweaking narrative since what story there is seems to be mostly about a dog's life while exploring JLG's usual interest in the course of history, philosophy and life in the 21st century. But the real reason to see this is Godard's astonishing embrace and use of 3D. His layering of images in the frame to denote space and depth recalls Ozu's teapots; and the effects he uses are a feast for the eyes and ears. I also found quite a bit of comedy to be had. While Hollywood has usually used 3D to attack the audience, Godard has us sniffed by a dog or simply has a table and chair extending out from the screen just being.
Okay...Probably it's because my 3d glasses, and the copy I got from the movie weren't the best; but despite being really short, it felt like time had completely stopped.
However as some shots were really cool, and I believe (and hope) that the "movie" has more to give me than what I've experienced, as soon as I have the chance to rewatch it on perfect conditions, I will.
I want to defend my rating since it might look controversial without any explanation behind it, aswell as being lonely amongst a very high ratings average here on Letterboxd.
I don't necessarily consider Goodbye To Language to be a bad film, I just haven't felt as stupid in a theater as I felt during the screening of this film. I already knew that it was going to some kind of incoherent wankery of quotes and pretty shots, but I wasn't expecting it to pass me by while I hadn't even left the starting line.
Godard's film discusses a lot of subjects with a lot of references to people such as the painter Monet, the mathematician Riemann and the author Dostoevsky…
"Third time's the charm! "... I give up, butt.... Godbuy langugage
With the exception of Tout Va Bien and a sequence here and there in some of his later films, I have had a hard time connecting with Jean-Luc Godard since he jumped the track during the second half of Weekend. His audacity and lack of compromise have always intrigued me. I am haunted by pieces of Le Mepris, Pierrot Le Fou, and Vivre Sa Vie. If Godard didn't exist, we would have had to invent him because, in the arts, there has to be something disruptive between the mundane and the money. I stuck by the irascible director with each new film, but my patience bottomed out with Film Socialisme. I was hopeful that Godard might turn a new corner…
I'd rather read about this film than watch it.
Still memorable, detestable, hilarious in its anarchic nature, absolutely not enjoyable, beautiful, punishing, unique.
Not my jam at all, sorry. Overgraded on the assumption that the 3D effects everyone was over the moon about would make it remotely bearable -- which I doubt, but who am I to argue with Critical Consensus.
Originally a list made prior to Cannes 2014, now updated every mid-April.
This is every Palme d'Or nominee since the…
Now complete: The Dissolve's 2014 Movies To See Checklist