With the revolution on indefinite hiatus, and nothing better to not do, Godard relents and resorts to his old tricks. The romantic marketplace, it seems, is open for business, just like all the others. You're going to have to seize your own day, so get out there and make some profit-maximizing choices already. But is that passion? Is it tragic? If not, what will it take? After all, every man dies for himself, too.
Cinematography by Renato Berta and William Lubtchansky. "Desire" list: my first Godard, in 81, was also my first Jacques Dutronc, great singer-songwriter who started for me as an actor of an incomparable charm, ironic and affectionate in his nonchalance. My first Godard, with my first Dutronc, is still my "first" of both, despite "Le Mépris", "Passion", "Nouvelle Vague" or Pialat's "Van Gogh".
New decade, new Godard. It's 'composed' by Godard, which is apt because he experiments with the sound. It also has visual tricks which tend to disengage the viewer. Lots of jokes about butt sex. I think of it as a starting point for some of his great films in the 80's. Unfortunately there's still a lot of misogyny going on. Huppert is great in a thankless role.
Excoriating, ridiculous, utterly sublime. Godard found himself reborn by bring critique back to a site where it could be genuinely useful, enriched by a new aesthetic regime w/ which the critique arrives in tandem. Anne-Marie Miéville might not be the greatest artist of the twentieth century, but she was certainly the greatest artist-as-interjection. The Criterion, shockingly, is superior to my 1.33/1 bootleg.
The only Godard film I have yet to see that I liked. I saw this as a teenager, and I hated it. I saw it again recently, and I found it very moving. It is (above all) a film about choices. The choices you make in your life. Do you choose to be free? Or enmeshed within the constraints of society? This is explored with the characters in the two settings: town and country.
At least ****1/2.... This one had a much more special meaning to me than it did on my first viewing years ago. It seems that Godard's cosmology, never laid out (definitely not here) so succinctly, or with such elegant simplicity, as in his later masterpiece NOTRE MUSIQUE, still holds, and is very discernible, in a huge swath of his later work: This one offers purgatory leavened by brief, exquisite hints of heaven.
Momentos cativantes e inteligentes, momentos absurdos, momentos belos, momentos incompreensíveis, momentos inspiradores, momentos em que não percebi se a fita estava encravada ou se era suposto ser assim, momentos musicais, momentos de ruído, momentos de silêncio... Ok, Godard, gostei da loucura, dos pensamentos filosóficos, dos "AI! OH! EH!", mas talvez... Demasiados momentos.