Everything returns to normal after Chernobyl. That is, everything but art. Most of the great works are lost, and it is up to people like William Shakespear Junior the Fifth to restore the ...
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In the near future, leftist writer Paula goes from Paris to the French town of Atlantic-Cité when she learns of the death of a former colleague and lover, Richard P. Is she there to ... See full summary »
Characterized by deconstructivism and philosophical references and by briefly exposing the good, bad, and ugly periods of the country's history, this post-modern film portrays the abstract ... See full summary »
Everything returns to normal after Chernobyl. That is, everything but art. Most of the great works are lost, and it is up to people like William Shakespear Junior the Fifth to restore the lost artwork of the human race. He finds strange goings-on at a resort enough to remind him of all the lines of the play, dealing with mob boss Don Learo and his daughter Cordelia, a strange professor named Jean Luc-Godard (sic), who repeatedly xeroxes his hand for no particular reason. He is followed by four humanoid goblins that keep tormenting Cordelia. There is also the gentleman whose girlfriend, Valerie, isn't always visible. Then the film is sent off to New York for Mr. Alien to edit.Written by
Scott Hutchins <firstname.lastname@example.org>
No Plot. Four characters who don't interact. Nothing happens. Peter Sellars walks around and thinks. His recurring voice-over monologue obsessively examines a thought that is not very interesting to begin with. Not content merely to bore us, Goddard assaults us with shot after shot of crudely filmed, irrelevant imagery, accompanied by unintelligible overlapping speech. Perhaps there's something resembling an idea buried underneath all the nonsense. But I doubt it. And what does any of this have to do with 'King Lear'? To be bored by a film is bad enough, but this film is aggressively, offensively, violently boring.
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