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 »
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 »
Composed entirely by literary quotations from many different sources and from several historical periods, Godard's film works as an allegory on film. The loose narrative tells about a ... 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 with a young woman he had already met three years earlier. Just as the project is about to become reality, all problems of an artistic or financial nature having been resolved, the author learns that the young woman has died. Part two concerns the events of three years earlier. While interviewing an historian, the future author meets for the first time the young woman, who is training as a lawyer. She has been asked by her own grandparents, formerly of the French resistance, to examine a contract offered to them by Americans who want to make a film about their activities during the Nazi occupation of France.Written by
Jean Luc-Goddard's film is so unlike a conventional plot-driven movie that it is hard to imagine how he conceived it. You almost imagine that he started out by making a conventional movie, got stuck, and so chopped up the footage into a thousand pieces, which he then redistributed at random. In fact, the mood of the piece is far too carefully controlled for the film to have been made in this way, but it is a confusing mix: half shot in black-and-white, half in a vivid colour (altohugh it's hard to correlate the style of cinematography to a time-frame within the story), the face of some of the characters is deliberately not shown, and a fragmentary story about Catholics in the French resistance and the attempts, sixty years later, to make a film about this, is interspersed with lengthy philosophical meditations from the characters. What can be said is that the images and music are tied in perfectly, the words hold a certain interest (although there is a degree of pretension in them), but the narrative as a whole never coalesces. What's left is like a master's primer in how to create an atmosphere in film; intriguing, but not wholly satisfying as an end in itself.
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