At 80, Jean Luc Godard (alias JLG) has directed many films. As the percursor of that film and claimed he craved the creative freedom and rebellion narrative, which consolidated its own language, a universe populated by a character named character nouelle vague, perhaps the most friendly and digestible of his films, "in recent years has comtemporáneas dedicated to exploring issues such as communication in- , political conflicts and their impact on everyday life, memory (history?), etc. using an anti-narrative tone, or closer to the arthouse , more cinematic art, which now seems the only survivor in which no characters are the protagonists actions, but characters that are never presented and that you always are alien to the viewer, who simply things happen, and they have no importance, indeed, often seem to be on the edge Boredom And to finish on the distance puzzle set with the plot, the usual skeleton of a film, Godard makes these characters not only do not or do not show emotions, but also those speeches so loose as little chattering contextualized : we have the example of the black preacher of "Sympathy for the Devil" ... E n "Film socialism" is used, of course, this resort and all that Godard introduces and getting the result, by not opting for any kind , and stay on that fine line, tightrope, this strange record, without being pseudocumental, this time is closer than ever to Chirs Marker of " Sans soleil" , especially in the first part, which reflects on the civil hose, how the people have been corrupted, unique chapters of history ... all aboard an ocean liner, which is not without irony, political and cultural reflection vs. leisure, which are crossed, so coral but without even greeting, very different characters dance as soon as arerobic recite those famous words that never seem to have connection with your partner. Stories that intersect and seem randomly assembled, like mini-extracts, fruit of a multi-view, something futuristic that we always lose because we fail to store information. A man siguendo the trail of ex-combatants, a family hides in a gas station a few journalists who are intimidated, the same Patty Smith, who wanders around with his guitar as an outsider . Or other colorful characters unexplored, as outlined: the boy who never gets to make a picture, the exotic woman who sometimes speak to the camera in Europe (the great theme of the film) and it seems the narrator of this "non-story" but not just so and not get out more ... All so strange and so chaotic, so no man's land .
To me I really like, I find it curious the effect it has on the viewer's internal subconscious mechanisms, which here must be modified in this non-action and constant rebellion ..
The movie has pretty pictures like a close-up of a donkey and a llama, a ying yang almost casual animal, domesticated cultures, with an opera background music, or a wide open shot from a corner of the bow of the boat with the light that opens the day and saturated colors and a girl that comes running from far and out of plane (but then we do not know who he is or where it goes or, really, we care.) That image and those seem to remember him, even more than Mark, " Drawing Restraint 9 " of Matthew Barney, and also " L'Intrus " of Claire Denis : Curiously both pass also, in part, in one of those huge boats that pass through the ocean, but in this case is of tourists, but perhaps this closeness to the wilderness, that something sublime that makes us see beyond, makes (together with the vision of the filmmakers, above all) have a tempo common a peculiar treatment of the plane, all that sofisticacón ..; Other images, body and opposed , since the common denominante asymmetry, are of poor quality, they hurt the ears, are below the level broadcast, empastadísimas, and sound even worse, deafening. People dancing in the nightclub and other public areas cruise with that style so tacky. Godard I guess that means with all this, we live in a complex and contradictory society, and that taste good and evil live together, shake hands, as well as intellect and ingorancia even the democracy and dictatorship ... But none of this is explicit, has endless readings and this film, to call in any way, just suddenly, what I call European style, with no end or epilogue or anything that would tell you otherwise anything but a normal fade to black, but it just, THE END ... You have to stay a couple of seconds long in the chair thinking, checking, realizing the play's director, and then we rise. Europe said the same thing happened because "White Ribbon" of Haneke; "The Silence of Lorna" , the Dardenne Brothers , "certified copy" Kiarostami , etc. But this time, "Film socialism" for failing there is no credits, a way of denying the usual value, identifiable as a movie, with an artistic strategy.
* Although not compare, maybe "Notre musique" -which seems explaining the approach at first, I liked .. rque po, keeping all this confusion, has a file usage much more interesting, more voice, and I remember pictures and conversations "within the nonsense with name and seal JLG-hilariantes and resourceful, as the sailor fishing in the river or the gardener. "Notre musique" / Our music get that collective voice, choral Godard had been looking, and, despite its cold, get to touch heartstrings, feelings hidden recesses of history recovered. Not here. I do not know if not intended, or not get it. In any case, JLG is a political film & critical, albeit very poetic and abstract, and thanks you for representing the spirit on the card.
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