Godard, Miéville and Gorin (aka the "Dziga Vertov Group") examine the parallel lives of two families - one French, one Palestinian - using an exploratory combination of film and video.
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Godard, Miéville and Gorin (aka the "Dziga Vertov Group") examine the parallel lives of two families - one French, one Palestinian - using an exploratory combination of film and video.
This documentary is based on older footage that was initially meant to serve "revolutionary" purposes . But after the majority of the actors, that is the original Palestinians that "acted" in that footage were killed and their cause shifted, Godard, no longer a member of the dismantled Dziga Vertov Group, took the footage and made it into this cinematic essay. The images are reedited to fit the new concept, add to this a voice-over covered mostly by Godard himself commenting on different things but mostly on the film and the way it is capable of rendering truth, history, memory etc and how it is also able to manipulate and incite. The presence of references to Triumph of the Will and to that brilliantly monstrous actor Adolf Hitler emphasizes the celluloid nature of film and its essential "problem" that it is the most fake when it mostly purports to show the truth. This is also the situation of Godard's original footage and the tragic limits the newer film sets to put on the capacity of the image to signify something real.
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This documentary is based on older footage that was initially meant to serve "revolutionary" purposes . But after the majority of the actors, that is the original Palestinians that "acted" in that footage were killed and their cause shifted, Godard, no longer a member of the dismantled Dziga Vertov Group, took the footage and made it into this cinematic essay. The images are reedited to fit the new concept, add to this a voice-over covered mostly by Godard himself commenting on different things but mostly on the film and the way it is capable of rendering truth, history, memory etc and how it is also able to manipulate and incite. The presence of references to Triumph of the Will and to that brilliantly monstrous actor Adolf Hitler emphasizes the celluloid nature of film and its essential "problem" that it is the most fake when it mostly purports to show the truth. This is also the situation of Godard's original footage and the tragic limits the newer film sets to put on the capacity of the image to signify something real.