Carmen is a member of a terrorist gang who falls in love with a young police officer guarding a bank that she and her cohorts try to rob. She leads him on while dragging the two of them ... See full summary »
In part one there is talk of a project on the subject of love, with the example of three couples, one young, one mature and the other elderly. At this point the author comes into contact ... See full summary »
In this film, 'Her' refers to both Paris, the character of Juliette Janson and the actress playing her, Marina Vlady. The film is a kind of dramatised documentary, illustrating and ... See full summary »
In a palace of Paris. Two detectives are investigating a two-year-old murder. Emile and Francoise Chenal are putting pressure on Jim Fox Warner, a boxing manager, who owes them a huge ... See full summary »
Jean-Luc Godard's densely packed rumination on the need to create order and beauty in a world ruled by chaos is divided into four distinct but tangentially related stories, including the ... 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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