A two-minute rumination on the once volatile situation during the period of the Bosnian War, presented in the form of a photo-montage with accompanying text. In the film, Godard takes a single photograph and shows us a series of close-up segments that conspire to abstract the overall meaning of the picture, turning the individual elements into mere symbols that are there to be deciphered. —Graham Greene
The lynchpin of the French New Wave, Jean-Luc Godard was arguably the most influential filmmaker of the postwar era. Beginning with his groundbreaking 1959 feature debut A Bout de Souffle, Godard revolutionized the motion picture form, freeing the medium from the shackles of its long-accepted cinematic language by rewriting the rules of narrative, continuity, sound, and camera work. Later in his career, he also challenged the common means of feature production, distribution, and exhibition, all in an effort to subvert the conventions of the Hollywood formula to create a new kind of film.
Godard was born in Paris on December 3, 1930, the second of four children. After receiving his primary education in Nyon, Switzerland – during World War II, he became a naturalized Swiss citizen – he studied ethnology at the Sorbonne, but spent the vast majority of his days at the Cine-Club du Quartier Latin, where he first met fellow film fanatics Francois Truffaut and Jacques Rivette. In May… read more
This photograph has taken in Bijeljina (Bosnia) in 1992 by Ron Haviv. Nobody knew who's that monstrous man seen from his back, but in summer 2012. Srdjan Golubovic AKA Max, or DJ Max was arrested for drugs and illegal weapons smuggling in Belgrade (Serbia). Lot of evidence pointed him as the monster from Haviv's photo. During this period of 20 years he lived in Belgrade and made a carrier as night club entertainer. More information (but in Serbian) about this story you can find here: http://www.radiosarajevo.ba/novost/90081/sasa-ilic-decko-koji-je-voleo-trendove
In one of the many hilarious, provocative, and occasionally infuriating interviews that Vladimir Nabokov granted in the 1960s, he made the following