Separated into three parts as defined by Dante's Divine Comedy—Inferno, Purgatory, Paradise—Jean-Luc Godard's Notre Musique is at its core a critique of the shot/reverse shot. Godard's main criticism of the technique is its relation between two subjects, treated as equals, when such comparisons are neither credible nor of equal similarity. With this critique, the director uses the contemporary Israel-Palestine conflict, alongside the nature of violence itself, to comment on the trajectory of humanity, the morality of wars and ownership, especially…

Jean-Luc Godard and Anne-Marie Miéville, commissioned once again by another organization, decide upon a lyrical biography on a fictional being in the aftermath of 9/11. Aimé Pache, their subject, the protagonist of an early Ramuz novel, is detailed through his fictional journals, fictional paintings, and fictional life, full of tragedy as his infant and wife leave his life in different but likewise manners. The blending between what's real and not—as the discussion between father and daughter (the short's narrators) never…

Lips wiped by a murderer's fingertips; thus, a face cleansed by a divine figure—Bogart. Cinematography by Raoul Coutard. High angle shot followed by close-up on poster: "Live dangerously until the end." Conclusion: immortality.

Godard's debut is an immaculate conception formed from a treatment by François Truffaut and Claude Chabrol; two more men framed by fame flamed of French ingenuity. Jazz surrounds a world—Martial Solal's design—encroached by a viewer unknown. Rivette is dead; or dead to us. Michel or Bogart or…