[Dr. Eugene Felikson]

^ Holy shit, Adam.

Also, that Masculin Feminin book looks cool.

Alphaville is still my absolute favorite.

[!@#$%!]

Originally Posted by Dr. Eugene Felikson

Alphaville is still my absolute favorite.

yes

 

[atsonicpark]

Seriously, I know it's hard to find, but you have all got to see Slow Motion, aka Every Man For Himself. It's replaced Oh Woe Is me and Pierrot Le Fou as my absolute favorite. It's so fucking dark and bleak. It's brilliant. Jesus!

[atsonicpark]

My ratings for every Godard film I've seen
"Charlotte et Véronique," ou "Tous les garçons s'appellent Patrick" ("Charlotte and Véronique," or: "All Boys Are Called Patrick") - 5/10
Charlotte et son Jules (Charlotte and Her Boyfriend) - 6/10
À bout de souffle (Breathless) - 7/10
Une femme est une femme (A Woman Is a Woman) - 7/10
Vivre sa vie (To Live One's Life) — a.k.a. My Life to Live - 10/10
Le Petit soldat (The Little Soldier) - 8/10
Les Carabiniers (The Riflemen) - 6/10
Le Mépris (Contempt) - 7/10
Bande à part (Band of Outsiders) - 6/10
Alphaville, une étrange aventure de Lemmy Caution (Alphaville: One of Lemmy Caution's Strange Cases) - 8/10
Pierrot le fou (Crazy Pete) - 10/10
Masculin Féminin, 15 faits précis (Masculine Feminine: 15 Precise Facts) - 10/10
Made in U.S.A. - 6/10
2 ou 3 choses que je sais d'elle (2 or 3 Things I Know About Her) - 7/10
La Chinoise (The Chinese) - 7/10
Week End - 10/10
Le Gai savoir (Happy Knowledge) - 7/10
Un Film comme les autres (A Film Like the Others) - 6/10
Sympathy for the Devil - 6/10
One Parallel Movie - 6/10
British Sounds - 6/10
Pravda - 6/10
Le Vent d'est (Wind from the East) - 7/10
Luttes en Italie (Struggles in Italy) - 6/10
Vladimir et Rosa (Vladimir and Rosa) - 6/10
Tout va bien (Everything's Going Fine) - 8/10
Letter to Jane - 6/10
Ici et ailleurs (Here and Elsewhere) - 6/10
Numéro deux (Number Two) - 9/10
Comment ça va? (How's It Going?) - 8/10
Sauve qui peut (la vie) (Save (Your Life) Who's Able / Run for (Your Life) If You Can) — a.k.a. Every Man for Himself (in North America) and Slow Motion (in the UK) - 10/10
Passion - 9/10
Prénom Carmen (First Name: Carmen) - 8/10
Je vous salue, Marie (I Salute Thee, Marie / Hail Mary) - 10/10
Détective (Detective) - 4/10
King Lear - 9/10
Soigne ta droite, une place sur la terre (Keep Your Right Up: A Place on the Earth) - 8/10
Soft and Hard - 7/10
Meetin' WA - 7/10
Nouvelle Vague (New Wave) - 7/10
Allemagne année 90 neuf zéro (Germany Year 90 Nine Zero) - 5/10
Les Enfants jouent à la Russie (The Kids Play Russian) - 6/10
Hélas pour moi (Alas for Me / Oh Woe Is Me) - 10/10
JLG/JLG, autoportrait de décembre (JLG/JLG: Self-Portrait in December) - 6/10
For Ever Mozart - 7/10
Small Notes Regarding the Arts at Fall of 20th Century: The Old Place (with Anne-Marie Miéville) - 7/10
De l'origine du XXIe siècle pour moi (Of the Origin of the XXIst Century for Me) - 8/10
Eloge de l'amour (Elegy for Love / Ode to Love) — a.k.a. In Praise of Love - 7/10
Notre musique (Our Music) - 9/10

I know I'm forgetting some here but there ya go.

[Derek]

Slow Motion is rare? I see that quite often, never picked it up though.

[atsonicpark]

Well, it is here. All his releases have pretty spotty track records, except the early FRENCH NEW WAVE "Crit errrr eeeee onnnn" (as an acquaintance of mine stupidly pronounces it) dvd's.

It's never been released in America, in any way.

[Skuj]

Originally Posted by atsonicpark

My ratings for every Godard film I've seen
"Charlotte et Véronique," ou "Tous les garçons s'appellent Patrick" ("Charlotte and Véronique," or: "All Boys Are Called Patrick") - 5/10
Charlotte et son Jules (Charlotte and Her Boyfriend) - 6/10
À bout de souffle (Breathless) - 7/10
Une femme est une femme (A Woman Is a Woman) - 7/10
Vivre sa vie (To Live One's Life) — a.k.a. My Life to Live - 10/10
Le Petit soldat (The Little Soldier) - 8/10
Les Carabiniers (The Riflemen) - 6/10
Le Mépris (Contempt) - 7/10
Bande à part (Band of Outsiders) - 6/10
Alphaville, une étrange aventure de Lemmy Caution (Alphaville: One of Lemmy Caution's Strange Cases) - 8/10
Pierrot le fou (Crazy Pete) - 10/10
Masculin Féminin, 15 faits précis (Masculine Feminine: 15 Precise Facts) - 10/10
Made in U.S.A. - 6/10
2 ou 3 choses que je sais d'elle (2 or 3 Things I Know About Her) - 7/10
La Chinoise (The Chinese) - 7/10
Week End - 10/10
Le Gai savoir (Happy Knowledge) - 7/10
Un Film comme les autres (A Film Like the Others) - 6/10
Sympathy for the Devil - 6/10
One Parallel Movie - 6/10
British Sounds - 6/10
Pravda - 6/10
Le Vent d'est (Wind from the East) - 7/10
Luttes en Italie (Struggles in Italy) - 6/10
Vladimir et Rosa (Vladimir and Rosa) - 6/10
Tout va bien (Everything's Going Fine) - 8/10
Letter to Jane - 6/10
Ici et ailleurs (Here and Elsewhere) - 6/10
Numéro deux (Number Two) - 9/10
Comment ça va? (How's It Going?) - 8/10
Sauve qui peut (la vie) (Save (Your Life) Who's Able / Run for (Your Life) If You Can) — a.k.a. Every Man for Himself (in North America) and Slow Motion (in the UK) - 10/10
Passion - 9/10
Prénom Carmen (First Name: Carmen) - 8/10
Je vous salue, Marie (I Salute Thee, Marie / Hail Mary) - 10/10
Détective (Detective) - 4/10
King Lear - 9/10
Soigne ta droite, une place sur la terre (Keep Your Right Up: A Place on the Earth) - 8/10
Soft and Hard - 7/10
Meetin' WA - 7/10
Nouvelle Vague (New Wave) - 7/10
Allemagne année 90 neuf zéro (Germany Year 90 Nine Zero) - 5/10
Les Enfants jouent à la Russie (The Kids Play Russian) - 6/10
Hélas pour moi (Alas for Me / Oh Woe Is Me) - 10/10
JLG/JLG, autoportrait de décembre (JLG/JLG: Self-Portrait in December) - 6/10
For Ever Mozart - 7/10
Small Notes Regarding the Arts at Fall of 20th Century: The Old Place (with Anne-Marie Miéville) - 7/10
De l'origine du XXIe siècle pour moi (Of the Origin of the XXIst Century for Me) - 8/10
Eloge de l'amour (Elegy for Love / Ode to Love) — a.k.a. In Praise of Love - 7/10
Notre musique (Our Music) - 9/10

I know I'm forgetting some here but there ya go.

You ARE God.

You fuckin love the dismissed / criminally overlooked Helas Pour Moi.

I do think that Detective is much much more deserving of 4/10 though, and I really love the sisters Made In USA + 2 Or 3 Things.

You've seen much more Godard than I, but I'll get there. Fuck I can't wait to have Film Socialisme on DVD.

[Skuj]

Originally Posted by atsonicpark

I am currently going through my entire Godard collection again, starting from his first film to his last and skipping the shorts and collabs, just focusing on his main films (i.e., the ones listed on wikipedia as "The Films of Jean-Luc Godard")...

What I find really interesting about Godard, having just finished reading the 700 page EVERYTHING IS CINEMA: THE WORKING LIFE OF JEAN LUC GODARD, is how successful he was -- I mean, he was a fucking CELEBRITY, the most well-known living Frenchman in the world at a certain point. Which is interesting, because a lot of his early films are pretty damn weird, even by today's standards. So, in 1960-ish? Geez... I think they just had a lot of themes that people could relate with at the time, but even so, the way he shot things is still pretty damn odd. Though I actually find his use of sound as the most jarring and bizarre element of his work, watch A WOMAN IS A WOMAN for example -- only his 3rd film and he already has abrupt musical elements that do more than act as simple background music. Also, I've noticed that he'll seemingly-randomly (though I doubt it's random at all) insert music in his early films to break up the flow... some of the music seems really out of place in Contempt, but then I thought about why it was included in this scene or that scene. It really makes you aware of its presence. The most bizarre use of music has to be in Week End, though. I can't even explain it, how it just APPEARS. It's very strange.

His films have a very freewheeling quality, very energetic, and I think -- to some people -- this appears "amateurish". I read a lot of IMDB posts saying Godard's films were poorly-shot, but I've yet to see a poorly-shot scene of his. I think they're just very NOTICEABLE, with the camera movements and all. They all seem very meticulously-shot, following characters around and around.

I also like how Godard seems to just pick up elements and throw them in without any explanation. This inspires me a lot in my work and is something I do frequently.. pick up things as I go along and just throw it in somehow because I find it interesting. Look at A MARRIED WOMAN -- the small segment where the black and white footage is completely negative. Where did that come from? How did that happen? It's one scene I'll always think about, though, so it works.

Godard, I think, proved that you can do anything, because.. yeah.. everything is cinema. A movie can be just quotes, can be just references, can be just editing trickery.. and still be an interesting film, with no plot at all. However, I think Godard's films, at least his early ones, do have a lot of heart. There's a lot of focus on the more monotone aspects of his work, the more... robotic.. aspects. But I dunno. Even a lot of his later works are pretty damn emotive -- Slow Motion and Hail Mary come to mind.

This guy is, technically, a brilliant director, and he's not afraid of being abstract, not afraid of being disliked, not interested at all in adhering to the studio system. A lot of directors can say that, but a lot of those directors never achieved any fame. Most directors regress, instead of progress, they might make some interesting, even experimental, early works (Sam Raimi, Peter Jackson, etc etc etc) but then get increasingly "normal" throughout their careers. Godard started out pretty damn out there.. and then his later stuff is even MORE out there.

But I do like his later work a lot better. It's more meditative, beautiful, stationary. Contemplative. Like a great painting. It doesn't have the urgency and energy of his early works, but he already made those films. You know? Why would people want him to return to that? I think the thing is, I like darker, moodier, grimmer, bleaker films, and that may be one of the main reasons I like his late works better -- but it's not like any of his early works were happy-go-lucky. Even a film like A WOMAN IS A WOMAN has a lot of quiet darkness underneath it all.

My favorite thing about Godard is that all of his films really make me think, once they're said and done. Once they're over, I feel like I have so much to think about, to contemplate, and I can't say that for most directors... most directors, I will watch their movie, it's over and I'm like "That was nice." and that's the end of it. I feel completely inspired and invigorated and I feel like I've actually learned something after watching a Godard film. And yet, still, after watching so many of my movies, I can't completely wrap my head around everything that he does. I've never seen anything like it.

This. Fuck I love you. Sometimes.

[Skuj]

Originally Posted by chairman of the bored

Great,thoughtful post asp. Here's something that's been bugging me about Godard lately; particularly his intellectuality.

I sat down to watch Made in U.S.A with my girlfriend and it was her first Godard and my first time seeing it. I kind of sat there trying to explain to her that Godard is usually much better than this and it's nearly impossible to appreciate this film without a bunch of information from outside of the film, i.e., Godard and Karina's relationship, his increasingly political concentration, his gradual development of style/aesthetic...why he's so damn important.

So my beef is this: yes his films are incredible deep and at their best, entertaining, but can they be enjoyed on their own? Without any outside information or previous experience? Is this a weakness?

Every Kubrick is self-contained and can be loved and appreciated of it's own accord. With a Godard film however, I feel one has to have much more knowledge about the outside circumstances of his films to enjoy them. (Which eventually exponentially increases what a viewer can get out of his films.)

So yeah. Godard rules, but this worries me sometimes.

I disagree. I think EVERY Godard film can be enjoyed in a vacuum. Knowing his progression / politics / loves is not essential, imho, to enjoying any one of his films.

[atsonicpark]

The thing with Detective... even Godard hates it, none of the text is even his, he said the ENTIRE FILM is pulled from random quotes from random books.. everything is filmed in a flat, uncaring way. I think I'll be able to appreciate it one day..

[Derek]

Originally Posted by atsonicpark

Well, it is here. All his releases have pretty spotty track records, except the early FRENCH NEW WAVE "Crit errrr eeeee onnnn" (as an acquaintance of mine stupidly pronounces it) dvd's.

It's never been released in America, in any way.

I seem to forget sometimes that Godard is European and so am I.

[Keeping It Simple]

http://www.youtube.com/watch?v=Oaf-FylqGxo

[Keeping It Gimple]

Originally Posted by Keeping It Simple

http://www.youtube.com/watch?v=Oaf-FylqGxo

Yet more uncultured snobbishness from the proud-to-be-ignorant gormless git of the board, whose wont to try and impress us with his anti intellectualism, as if we could ever be convinced it was anything other than a compensatory cover for his utter lack of a working brain.

[atsonicpark]

Academy Unable To Contact Jean-Luc Godard

Godard shows no interest in honorary Oscar

By Steve Ramos | Source: Various | 08/27/2010 06:28AM

Following up on his no-show earlier this year at a Cannes Film Festival press conference for his latest movie “Film Socialisme,” legendary French director Jean-Luc Godard continues to be non-responsive to the Academy of Motion Picture Arts and Sciences who plan to present the veteran auteur with a lifetime achievement Oscar November 13 in Hollywood. According to London’s “Guardian,” repeated attempts by the Academy have failed.
“ We’ve been attempting to reach him since 7 p.m. Tuesday evening and we have as yet had no confirmation,” says Academy Eexecutive Director Bruce Davis. ”We have tried telephone, by fax, by emails to various friends and associates. We have sent a formal letter by FedEx. But we have certainly not been told he will show up at this point.”
Godard, 79, director of French New Wave classics “Breathless,” ‘Weekend” and many others, is set to receive this honory Oscar along with actor Eli Wallach, British film historian Kevin Brownlow. Francis Ford Coppola will also be at the ceremony to receive the Irving G Thalberg memorial award. That is, if Godard shows.

[atsonicpark]

Dog Days
Posted by Richard Brody

Today, Jean-Luc Godard is in the news—he’ll be awarded an honorary Oscar at a special ceremony in Los Angeles (which he said he won’t be attending)—but what he really should be in the news for is his movies, and there’s a bit of news about them. At Cannes, in May, Godard announced that his next film would be called “Adieu au Langage.” Last Sunday, in an interview (by Matthias Lerf) in the Zurich newspaper Die SonntagsZeitung (The Sunday Paper), he described the project:

"It’s about a man and his wife who no longer speak the same language. The dog they take on walks then intervenes and speaks. How I’ll do it, I don’t yet know. The rest is simple."

Simple? I thought you wanted to hire a star.

"Only if he brings in some money. I’d shoot immediately with Humphrey Bogart and Ava Gardner, they’d be perfect. They were gods. Who could we take now?"

Godard laughed at the interviewer’s suggestion of Scarlett Johansson (“No, no, that’s business”) and said that the dog might be played by his own dog: “I don’t want him trained like a movie dog.” Also, he said that, though he hasn’t seen any of the recent films shot in 3-D, he is very interested in the technique:

"Maybe I’ll even shoot my next film in 3-D. I always like it when new techniques are introduced. Because it doesn’t have any rules yet. And one can do everything."

[Dr. Eugene Felikson]

Hahaha fuck yeah!

*concerning the honorary Oscar story

[atsonicpark]

No way.. you're REALLY missing out on some GREAT movie experiences if you just watch those films. Great films, though I've never been much of a Breathless fan. I'm doing a top 10 for a friend so I'll post it here in a few minutes. Then I gotta go to work.

[atsonicpark]

Okay...

 

QUESTION: ASP, WHAT GODARD FILM DO YOU RECCOMEND?

ME: I'd reccomend all of his films aside from Detective and Les Carabiners. Seriously. Maybe you can skip a few shorts and a television series. But everything else is indispensable if you want a good view of "what's so important".

My favorite work by him is Histoire(s) du cinema -- I think it's one of the most important works of art of the past 50 years or so.

His "most important" film is, perhaps, Breathless, where a lot of people start and stop. But to be honest, Breathless (as well as Contempt and Band Of Outsiders) has never been one of my favorites. Still a decent film, and worth a watch, and it's important for its use of jump cuts, the energy of the direction (camera constantly moving), and how it feels "plotless" at times (like everything was made up on the spot). It kinda invented modern movies as we know them and is a great film, but he would refine all of the techniques he used in it on later films.

Anyway, here are my top 10 Godard films, with some comments here are there:

1. Every Man For Himself/Slow Motion (bleak/dark as hell; this was Godard's "2nd first film", as it was his first film -- with actors and a "plot" -- in 13 years up to that point; an absolute masterpiece of sound, editing, direction, cinematography, and experimentation -- indeed, quite a bit of the film is done in "slow motion", and the results are staggering)

2. Pierrot Le fou (his most colorful and best-looking film; was a huge influence on everyone from Takeshi Kitano [Hana-Bi, Sonatine, Dolls] to Chantal Akerman [News from Home, Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles]. The direction on this one is probably Godard's best from his older films; sometimes, the camera is completely static; other times, it's following character around for many minutes... there's a great scene where the camera is zoomed in for miles and you see some action, and then the camera abruptly zooms out and spins around to show some action in the apartment. Also, can't forget the scene where they drive the car into the sea! SO MANY iconic shots, bits of dialogue, etc... this is truly an unforgettable film experience, with a haunting score and a freewheeling attitude to plot that makes it truly revolutionary. A must-watch.

3. Oh, Woe Is Me (this was the 2nd film I saw by Godard -- after Week End -- and it's probably not the best place to start, not one of the better films to see by him when you start your Godard journey... but, yeah, it's still absolutely one of my favorite films by him, period. Just from watching it, you can tell there was a very troubled shoot, as a lot of things don't seem to make sense; everyone seems angry, in my opinion. After reading Richard Brody's book, I now know why everything is so damn dark and depressing in this film. There is an atmosphere here you will likely not see in any other film, and the INSANE editing and how Godard plays with image and sound is absolutely genius in this. Might technically be his best film, and definitely his most densely layered. A staggering brilliant and rewarding film, one you may need to watch a few times to "get", but also one of his most addictive and beautiful.)

4. Week End (first film I saw by him, and I was hooked! Lots of long takes; the 9 minute traffic jam being probably my favorite scene in the history of cinema. This film is mostly made up of lots of great vignettes put together. Lots of interesting stylistic diversions, as well. A brilliant movie, and also quite a strange movie to boot, this was a cinematic middle finger at the time; but nowadays, it just seems ahead of its time -- there still hasn't been another movie like it, in my opinion.)

5. My Life to Live (his darkest film, perhaps, from his early period, but one of his most engaging and straightforward. Every scene in this movie is great... I especially like the guy who acts like a little kid blowing up a balloon. Anna Karina complained in real life that Godard made her look ugly, but she looks beautiful in this film -- everything does. Some of the most amazing cinematography ever; the black and white is unbelievable. An extremely depressing film.)

6. King Lear (this one's a controversial pick, to be certain, as the people who love it REALLY REALLY love it.. and the people who hate it.. well.. you know. I happen to be one of the people who thinks it's one of the best films ever made. It's downright strange, and it takes a few watches to see its brilliance.. but it's definitely Godard's most bizarre work; it almost feels like a David Lynch film at times.. like Inland Empire or something. I'm not even joking. An incredibly weird film, but it's entertaining as hell. Case in point: Early in the film, it shows an actor leaving the set of the movie, with Godard narrating how the actor was.. well.. leaving the set. At another point, a character is talking about great directors, gets to Godard's enemy [by that point] Trauffaut, and makes a somewhat disparaging comment against him. There are seagull sound effects every few minutes, while the rest of the music is Beethoven slowed way, way down... let's not forget the part where Godard puts the petals on a flower through the use of a reverse effect. I love this film with all my heart and soul, but it's definitely the only one on my list that most people don't consider a great film.)

7. Hail Mary (another controversial pick, but this film is absolutely amazing. So engaging and full of life at times; other times, it's dark and slow and agonizing. A very ambitious film, and very bleak like much of Godard's later work, don't go into this one expecting a good time for 90 minutes, but it remains Godard's most haunting film, in my opinion, one that I return to quite often.)

8. Le Petit Soldat (another film by him that I feel is extremely underrated, this one remains little-seen compared to all the rest of his early works, yet I think it's one of his best. Shot shortly after Breathless and featuring the debut of the young, beautiful Anna Karina, this film does everything Breathless tried to do but completely refines it. I think THIS is the film people should start their Godard journey with. An absolutely amazing work of art.)

9. Notre Musique (one of Godard's most recent, and also his most elliptical and confusing since OH, WOE IS ME... this is, again, a beautiful beautiful film... one I personally hold in very high regard, but it seems to attract a lot of hatred as well, for reasons that are easy to see when watching the film -- everything is dense, and there is a LOT to take in. This is pretty heady and deep stuff, it's not an easy watch if you like to just turn a movie on and shut your brain down. Be warned -- you'll need to watch this film a few times to understand everything that's going on. But it's worth it.. and the direction is so good, you won't mind giving this film your undivided attention many times over.)

10. Passion (oh how I love this film, it is very dear to me. Beautiful locales, likeable characters.. this is a film I can really connect with. 80's Godard is probably my favorite period for the man, I think he was really onto something, before he went a little insane. This film is a pretty "easy" watch compared to most of his late-period stuff, one you should have no problem with. I am guessing this one would be liked even by those who don't really get into Godard usually, it's just a great multi-layered "story"...)

[atsonicpark]

..........other favorites of mine:
- Keep Your Right Up (this film is FUNNY! It seems like Godard was trying to make a comedy here -- a pilot reading a book called "how to commit suicide" for example -- albeit one that is HIGHLY elliptical, idiosynchratic, and bizarre as hell. So much of this film is ridiculous. I love it. Interestingly, Godard actually promoted the hell out of this film, and said he was really proud of it. It's easy to see why.)

- Alphaville (AMAZING, dark nighttime photography; also, Godard lets his sense of humor shine through here, with some of the "action" scenes and when a character turns his cigarette lighter on by shooting at it. Brilliant little film, though I find it a bit overrated -- this is another one of those films that many people will watch and then never bother with Godard again, thus missing out on lots of important films. However, it's an excellent film... definitely stands out as an oddity amongst Godard's films, as there is a very clear storyline and the film remains extremely striaghtforward throughout)

- In the Mood for Love (his "third 1st movie", this is considered by quite a few peopel to be his crowning achievement, and it's easy to see why. It's beautiful, both in the opening half, with the amazing black and white photography.. and the 2nd half, with the oversaturated digital colors. I absolutely love this film, though some might be put off by its incredibly slow pace. The framing, editing, and music are topnotch.)

- Numero Deux (one of his "essay films", and one of his most disturbing films, period. This one is a bit mean spirited and ugly -- the film was originally called "breathless 2" and part of THIS film seems to be about how "Breathless" is a joke, kinda making fun of Godard's early works, while establishing his grumpy, dark later works.. indeed, many of the themes Godard is still focusing on to this day were originated in this film. There are super long takes of Godard talking in this film, which are extremely fascinating. I'd highly reccomend tracking down this VHS; it's worth it, and if ever a film needed to be seen on a VHS, it's this one [you'll see why when you see the movie])

- First Name: Carmen (filmed around the same time as Passion, this film is stunningly beautiful and focuses on many of the same themes as Passion. Excellent movie.)

- A Married Woman (one of Godard's most straightforward, this is a very simple tale of... a married woman. Lighter and simpler than most of his works, it's still a very compelling tale; the simplicity is deceptive, there's a lot bubbling underneath the surface. Often considered a "minor work", but still genuinely well liked, this is a really good place to start with Godard, in my opinion. It kinda eases you into some of his stylistic techniques, though it invents a few things Godard never experimented with much again [whole scenes filmed in "negative", though seen briefly in Alphaville; a focus on ads for clothing, though this is touched upon a wee bit in 2 or 3 Things...)

- FILM: SOCIALSIEM (his latest tfilm appears to have been shot with all kinds of different digital cameras and webcameras. In a way, it feels kinda like some youtube videos -- it even has LOLCATS! But if you've seen many youtube videos that were made by young youtube "directors"... or if you're familiar with the CURRENT channel, which uses a lot of viewer submitted videos... this movie feels like a response to that, and part of that movement. VEry interested. Godard always loves working with new technology, and he uses the digital camera in a way that a lot of experimental directors use it -- but not used often by establishe directors. He exploits flaws and glitches in the film, for example.. the first 40 minutes is sorta like that,a youtube-ish documentary about people on a vacation, on a boat. Then the film kinda focuses on some characterrs who talk a lot but don't interact, in beatufiul scenes very reminescent of every Godard film amde in the last 30 years. The final 15 minutes is an essay on EVERYTHING. This is a staggering, densely-layered film that is going to require many many watches to appreciate all the nuances. But just from the one watch I've had, I love it)

- Joy of Learning/Le Gai Savor (often forgotten/overlooked, this is one long essay about language, filmed in front of a black background on a stage, with two actors.. there, of course, is a LOT to take in. But it's worth it)

- Tout Va Bien (this should have in my top 10, as it's one of my favorite Godard films as well, though also overlooked. My fingers hurt, so please see this film.)


I hope that was helpful....

TIME FOR WORK!

[!@#$%!]

hot damn i hit the godard encyclopedia