not like stupid/dull, but as in movies that are so insanely packed with things and ideas and visuals they become…
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.
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.
“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…
If you are lucky you will admire this film, because there is a lot in there. Multiple interlocking texts, a dog much philosophy (probably), nudity (definitely) etc. I was constantly struck by Godard's ability to use the same image repeatedly, and achieve a different effect every time. Also some stunningly effective lines ('I can understand what other people think but not what I think' or, on a related theme, 'Soon we will all need interpreters to understand what comes out of our own mouths'). But I could only really follow it for minutes at a time, and I frequently felt a bit beaten over the head by it.
fuck this pretentious, auteur French bullshit.
"Those lacking imagination take refuge in reality."
Godard's experimental 70-minute marvel about the confines of communication floored me on multiple levels, I am still questioning whether or not I even liked it. Certain elements definitely worked for me, others didn't. I wasn't fortunate enough to view the film in 3D, but I can certainly see it appealing more to me under those circumstances. Definitely some of the most whacked out images I've seen from this century. For 70 minutes the film certainly does pack a lot in, even if I didn't enjoy all it held in its depths.
Shit's heavy, you know. Only 69 minutes, but it packs it in. It could be like Manoel de Oliveira, I guess, or Monika Treut. Who knows? Only Godard knows. Only Godard knows and no one else at all. Fascinating and hostile is GOODBYE TO LANGUAGE, I suppose. Juiced up for another sexy new meditation after 2010's FILM SOCIALISM. But Godard's working it out still. I don't know. No one knows. It's pretty good! Just say 'It's pretty good!', smile a little, and go anyway. For the words coming from their own mouths people will soon need interpreters? I don't know, bud: just zoom in interesting non-sequitur. Poetics to take the classiest man's breath away, and luckily a prominent dog also.
Apparently, when I buy the 3D blu-ray, this will be a masterpiece.
Godard had developed a seemingly transfixing cinematic experience that is virtually stunning in every way, but, and I say this rarely, there is a tad too much pretension. I'm sorry, there just is. Godard is one I adore, and few of his have seemed this way (plus, I'm more lenient on "pretension" than most, I feel), but this, this...wow. That 3D is supposed to be masterful, and it better be.
Godard es el más punky de por aquí y es capaz de imágenes potentísimas, pero creo que al final no es tan diferente de un anciano demente que grita sus movidas a los niños del parque.
(vista en 2D, lamentablemente)
"to live or to tell"
now this is my type of film.
godard is THE master of cinema. goodbye to language is bent upon navigating the divide between society and government, abstraction and actuality, language and meaning, and cinema and reality. godard destroys the boundaries of film, ruthlessly deconstructing everything we've come to know and expect. sound channels split, audio fuzzes out, and images collapse then relapse back onto themselves. the film almost acts as a career summation for him, a true pioneer, who has spent a lifetime exploring and unraveling the world of cinema. life isn't language, it's image and sound fusing to create infinite fleeting moments. film isn't real life, it's another dimension entirely.
that dog is SO cute.
This movie took my will to live. That's all I have to say about it.
Just when I was starting to believe that I could actually enjoy Godard's films, he came along with "Goodbye to language" - a tidal wave of over-intellectualised artsy-fartsy mumbo-jumbo (again lightly seasoned with his signature maoist slant) wrapped in a downright incoherent string of images that yet again reminded me that his view of cinema is just not for me. And - worst of all - he came out with this film at the ripe age of 84 and everyone (EVERYONE!!!) seems to have bought into his bullshit, so in the end he walked away with the Jury Prize at the Cannes Festival. What a travesty...
"Goodbye to language" is a result of Godard discovering all the bells and whistles…
The first 1012 films are from The 1,000 Greatest Films list, and maintain the original order. The films that follow…