A true gem of the French New Wave. Beautiful b&w cinematography, impressive camerawork, interesting use of light, great music. This is a unique film, something that could probably only happen during the 60's, so if you like the period and appreciate experimental films, you most likely won't be disappointed; I'd actually recommend anyone to give it a try!
at the intersection between poetry and politics but gets lost in the deluge of I and thou. The atheism in politics is the megaphone infected by the silence. (atheism is the absence of politics) God is missing and present (where is politics). The film fails to provide the necessary condition for both absolutes (god/politics). I much prefer the angle of Pasolini, God is the atheist that fails to believe in the world.
Pretty terrible film from a young Philippe Garrel that despite some stylistic flourishes fails miserably in its conceit. Garrel takes on the Christ story and attempts to draw allusions to modern times and the political climate of the time period but it all comes off as twee, ineffective and somewhat juvenile. At times brings to mind the early work of Serra (Birdsong) in its starkness and emotional vacuum.
Campy, literary, sexy, absurdist, cool & full of fervour. I both genuinely love it and can see why, to another, it'd be ponderous/pretentious. Absolutely indulgent. But absolutely successful! Could be the Nico & the heroin-driven guitars that make me think it brought to film a bit of what the VU brought to music (but maybe just drug-fuelled iconoclasm & art-house cool). Anyway, impressive. Here's to the wunderkinds!
As far as Garrel's experimental work goes, this seems to be a good use of them in terms of storytelling. He takes the Christ story and modernizes it and fits in some pretty cool odd cinematic shots. The shot through the catacombs while riding on a bed is pretty damn cool. Not sure there is much added to the conversation here. But the use of his experimentation on this old story is pretty interesting if nothing else.
A meandering hippy passion play following a Jesus figure on his journey through a biblical landscape with obscure purpose. Symbols of counterculture themes such as the violence of the state bubble up and dissipate. Its charm lies in the striking camerawork, its leisurely pace, the long silences and the crude minimalism of the locations and the action. Oddly bewitching