Jean-Luc Godard's Weekend on 35mm

iconic godard

(Source: micropterus-salmoides)


Le rapport darty, Jean-Luc Godard (1989)


Chris Marker’s photograph of a Moscow street scene (1957-1960?), as filmed by Jean-Luc Godard for the credits sequence of Alphaville (1965). Marker had no idea that Godard had used it until he saw it on-screen.

Chris Markter later wrote:

The peoples of the world join hands to throw the tanks into the drink (not all of them, as the Czechs and Hungarians would find out later) - there the symbol’s clear enough, but whose hands are releasing the dove of peace? A Woman’s hands, surely, perhaps an angel’s. “Who, if I cried out…" Was Godard thinking of Rilke when he slipped this image into the credits screen of Alphaville?


ICYMI, we’re thrilled to announce we’ll be releasing Jean-Luc Godard’s barking new 3D masterwork Goodbye to Language this Fall to a 3D theater near you! 


translation via Ethos

Michael Phillips, Chicago Tribune

Some of the images are wondrous. There’s a shot of Godet from the top of her head down, in 3-D, that is beautiful enough to make you cry. It’s a few seconds of everything Godard ever did for the movies, crystallized: We sense the desire behind the eyes of the man behind the camera, but it’s not merely salacious. It’s sad, a human moment captured just so.

here is a small sampling of the first reviews of adieu au langage

i am so excited about this film.

i heard that fox searchlight will most likely pick up the distribution for this film here in the united states.

this could be chatter though, especially since i don’t have any sources.

maybe i dreamt it.

that’s right, it’s quite possible that i dream about the distribution of godard films.

in conversation with jean-luc godard

a current interview (!) 

45 minutes in two parts

subtitled (!)

today will be hard for me to work, i think -

Jean-Luc Godard’s Adieu au langage - Synopsis

Short synopsis

A married woman and a single man meet.

They love, they argue, fists fly.

A dog strays between town and country.

The seasons pass.

A second film begins…

Long synopsis

The idea is simple:

A married woman and a single man meet.

They love, they argue, fists fly.

A dog strays between town and country.

The seasons pass.

The man and woman meet again.

The dog finds itself between them.

The other is in one,

the one is in the other

and they are three.

The former husband shatters everything.

A second film begins:

the same as the first,

and yet not.

From the human race we pass to metaphor.

This ends in barking

and a baby’s cries.

In the meantime, we will have seen

people talking of the demise of the dollar,

of truth in mathematics

and of the death of a robin.


Following up on my earlier post on Godard and 3D, there are a few early impressions floating around the web of “Les trois désastres,” Godard’s contribution to the omnibus film 3X3D. My suspicions seem to be confirmed…


a stunningly intangible alternative to the sleek use of the medium in recent Hollywood productions


engages with the very concept of 3D, challenging the tradition of perspective in the fine arts

Hollywood Reporter:

a blizzard of images and sounds, textual extracts and movie-clips, photographs and snatches of distorted video-art […] Godard’s own approach to the stereoscopic format is genuinely experimental, including a burst of deliberately “wonky” plane-manipulation that will have audiences checking their glasses.

MUBI Notebook:

There is no filmmaker who more eagerly adopts new tools and puts them to use so inventively and potently. In one shot, the foreground is out of focus in such a way that it causes discomfort—a new way of interrupting complacent viewing. Godard has used the layering of images in the past to bring new meanings to them, combining separate things to create new ideas. With 3D, the degree to which he uses contrastive depth can develop new ways of making meaning and complicating juxtaposition.

Daniel Kasman:

Again we know as we must that 3D cinema is not a cinema of volume but of planes. Of layers. And Godard has always worked in layers. But as a montage-ist, unlike most of the 3D cited in Les trois désastres (Herzog, Final Destination 5, Paul W.S. Anderson, Fright Night), the real volume Godard is working in is cubist, it is in building volume through cuts, of the mise en scène of planes—of thoughts, of images—assembled in mental space, speculative space. 3D cinema as thought.

Craig Keller:

There are things in this movie we have never seen nor imagined.


The Cannes 2014 lineup.
Notes on all the films and trailers for more than a few.


The Cannes 2014 lineup.

Notes on all the films and trailers for more than a few.


jean-luc godard, film socialisme

touchtouchpublishing says

"i really think that this is one of godard’s best films and it’s readily available to watch over and over and over and over - which, of course, is the only way.