A symphony in three movements. Things such as a Mediterranean cruise, numerous conversations, in numerous languages, between the passengers, almost all of whom are on holiday... Our Europe.... See full summary »
In this modern retelling of the Virgin birth, Mary is a student who plays basketball and works at her father's petrol station; Joseph is an earnest dropout who drives a cab. The angel ... See full summary »
Celestine, the chamber-maid, has a new job in the country, at the Lanlaires. She has decided to use her beauty to seduce a wealthy man, but Mr. Lanlaire is not a right choice: the house is ... See full summary »
Based from true story, primarily a conflict between two youth gangs, 14-year-old young boy's girlfriend conflict with the head of the gang for unclear reason, until finally there was a painfully incident.
"Out 1" is a very precise picture of post May '68 malaise - when Utopian dreams of a new society had crashed and burned, radical terrorism was starting to emerge in unlikely places and a ... See full summary »
At a lakeside hotel, Michel Piccoli discusses the centennial of cinema with Jean-Luc Godard. Godard asks why should cinema's birthday be celebrated when the history of film is a forgotten ... See full summary »
The Coin of the Absolute, the fifth part and the beginning part of chapter three to Jean-Luc Godard's Histoire(s) du Cinéma opens with a rather intense and unsurprisingly incoherent monologue about the government and the oppression it brings, with Godard talking about how governments/establishments, like citizens, need to be punished when they commit crimes. This would be great in a political documentary, or one furthering or expressing an agenda - not for a miniseries that claims to analyze and explore the histories of film when it frankly doesn't do much of anything related to film analysis in the long-run.
"What is cinema?," Godard asks in the form of his trademark title cards. "Nothing," he replies. "What does it want?," he asks again. "Everything." "What can it do?" "Something." These are the thought-provoking title cards that exist in The Coin of the Absolute, which, in turn, make twenty-six minutes seem woefully longer than they really are. Godard's one shining moment in this part is he does get into discussing the job of a cinematographer and what they do, but by the time that rolls around, it's too little too late, especially with the way Godard talks about the job.
The part ends with Godard discussing "destiny" and "time" and how time actively condemns destiny. What does this have to do with cinema? Nothing. How has this entire experience been? Exhausting.
Directed by: Jean-Luc Godard.
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