23 user 57 critic

Notre musique (2004)

Divided into three "kingdoms" -- Enfer (Hell), Purgatoire (Purgatory) and Paradis (Paradise) -- Notre Musique is an indictment of modern times.



On Disc

at Amazon

1 win & 5 nominations. See more awards »


Learn more

People who liked this also liked... 

    1 2 3 4 5 6 7 8 9 10 6.5/10 X  

An author works on a project on the subject of love, and, in the process, crosses paths with a former love in his life.

Director: Jean-Luc Godard
Stars: Bruno Putzulu, Cécile Camp, Jean Davy
    1 2 3 4 5 6 7 8 9 10 5.8/10 X  

The passengers on a Mediterranean cruise enjoy their luxuries as a small family struggles with overbearing media attention.

Director: Jean-Luc Godard
Stars: Jean-Marc Stehlé, Agatha Couture, Mathias Domahidy
Comedy | Drama | War
    1 2 3 4 5 6 7 8 9 10 6.6/10 X  

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 »

Director: Jean-Luc Godard
Stars: Madeleine Assas, Ghalia Lacroix, Bérangère Allaux
Hail Mary (1985)
    1 2 3 4 5 6 7 8 9 10 6.7/10 X  

A college student gets pregnant without having intercourse, affecting people close and unrelated to her in different ways.

Director: Jean-Luc Godard
Stars: Myriem Roussel, Thierry Rode, Philippe Lacoste
Drama | Fantasy
    1 2 3 4 5 6 7 8 9 10 5.9/10 X  

A silent, surreal parallel between a couple and a dog.

Director: Jean-Luc Godard
Stars: Héloïse Godet, Kamel Abdelli, Richard Chevallier
Crime | Drama | Music
    1 2 3 4 5 6 7 8 9 10 6.6/10 X  

A woman involved with a terrorist group becomes dangerously close to the police officer guarding the bank they plan to rob.

Director: Jean-Luc Godard
Stars: Maruschka Detmers, Jacques Bonnaffé, Myriem Roussel
    1 2 3 4 5 6 7 8 9 10 7.2/10 X  

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 »

Director: Jean-Luc Godard
Stars: Eddie Constantine, Hanns Zischler, Claudia Michelsen
    1 2 3 4 5 6 7 8 9 10 7.1/10 X  

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 »

Director: Jean-Luc Godard
Stars: Alain Delon, Domiziana Giordano, Jacques Dacqmine
Comedy | Drama | Fantasy
    1 2 3 4 5 6 7 8 9 10 6.4/10 X  

Romance about Simon Donnadieu and his decision to leave his ever-loving wife Rachel.

Director: Jean-Luc Godard
Stars: Gérard Depardieu, Laurence Masliah, Bernard Verley
    1 2 3 4 5 6 7 8 9 10 7/10 X  

An examination of sexual relationships, in which three protagonists interact in different combinations.

Director: Jean-Luc Godard
Stars: Isabelle Huppert, Jacques Dutronc, Nathalie Baye
Numéro deux (1975)
    1 2 3 4 5 6 7 8 9 10 6.7/10 X  

An analysis of the power relations in an ordinary family.

Director: Jean-Luc Godard
Stars: Sandrine Battistella, Pierre Oudrey, Alexandre Rignault
    1 2 3 4 5 6 7 8 9 10 6.2/10 X  

13 European directors explore the theme of Sarajevo and what this city represents in European history over the past hundred years, and what Sarajevo incarnates today in Europe. From ... See full summary »

Directors: Leonardo di Costanzo, Jean-Luc Godard, and 11 more credits »
Stars: Bogdan Ninkovic, Fedja Stamenkovic, Andrej Ivancic


Cast overview, first billed only:
... Judith Lerner
Nade Dieu ... Olga Brodsky
Rony Kramer ... Ramos Garcia
Simon Eine ... Ambassador
... C. Maillard
... Indian
Ferlyn Brass ... Himself
Leticia Gutiérrez ... Indian
Aline Schulmann ... Spanish Translator
... Himself
Juan Goytisolo ... Himself
Mahmoud Darwich ... Himself
Jean-Paul Curnier ... Himself
Pierre Bergounioux ... Himself
Gilles Pecqueux ... Himself


"Notre Music" is divided in three kingdoms: Hell, Purgatory and Paradise like in the Dante's Inferno in the Divine Comedy. Hell shows footages of many wars; Purgatory mixes reality and fiction in Sarajevo; and Paradise is a surrealistic view of a beach "protected" by the American Marines. Written by Claudio Carvalho, Rio de Janeiro, Brazil

Plot Summary | Add Synopsis




See all certifications »




Release Date:

19 May 2004 (France)  »

Also Known As:

Our Music  »

Filming Locations:


Box Office

Opening Weekend USA:

$8,210, 28 November 2004, Limited Release

Gross USA:

$139,922, 22 May 2005
See more on IMDbPro »

Company Credits

Show more on  »

Technical Specs


Sound Mix:


Aspect Ratio:

1.37 : 1
See  »

Did You Know?


Jean-Luc Godard: Killing a man to defend an idea isn't defending an idea, it's killing a man.
See more »


References His Girl Friday (1940) See more »

Frequently Asked Questions

This FAQ is empty. Add the first question.

User Reviews

Godard makes most other filmmakers look simple-minded
18 January 2006 | by See all my reviews

Godard's status as a filmmaker, and an auteur, cannot be challenged. He no longer needs to make a name for himself and is free (within reason) to pursue the projects he likes, and carry them out to his own satisfaction. He also has an enormous and varied body of work 'under his belt', along with the experience that this has brought. And yet, these facts do not seem to have made him complacent. No one could accuse him of 'going commercial', and though the new Godard is 'nicer' than the strident, know-it-all politician of his Maoist period, he can't be accused of slowing down.

This film is a case in point. Within in, one finds so much going on, so many ideas, and at such a pace, that it really needs multiple viewings. At 75 minutes, it flies by. It is hard, therefore, to cover all the issues raised by the film, but I will try to give a summary of my impressions.

The film follows a basic triptych structure named according to the rather Catholic names of Hell, Purgatory and Heaven. Parts 1 and 3 act like short wings to the hour-long centrepiece.

In a brutal first 10 minutes, appropriately called 'Hell', one is confronted with a mix of images of war from film and from war footage. Personally, I've always found documentary footage of war, however grainy or poorly shot, much more troubling than the most violent parts of acted film (such as Saving Private Ryan). Is Godard pushing the two together (implying moral responsibility of the filmmaker), or contrasting them through montage? (Suggesting the dual aspects of film-making, which he will emphasise later in the film, when comparing Israelis, who have become a film, to the Palestinians, who have become a documentary.) Like the rest of the film, it is a brilliantly edited tour-de-force of images and ideas.

The second section, Purgatory, consists largely of discussions between writers and journalists drawn to Sarajevo for a literary conference. The number of questions (though not answers) that bubble to the surface in these discussions is astounding. Citations (a Godardian standard) are given new meaning through editing / montage. And many more eminently quotable lines are added by Godard and the other participants, literary figures playing themselves, such as Mahmoud Darwish, whose analysis is original and perceptive, and Juan Goytisolo. This section has a documentary feel, but an artist's aesthetic. The film itself looks superb, demonstrating a real eye for shot composition. This makes his films 'surface' extremely watchable, even before the 'substance' is broached. The substance is tasty too, with a superabundance of wit on parade, not in the sense of trite humour, but real insight, combined with a sober sigh before the unchangeable.

The last 'movement' is of course 'Heaven', which is amusingly guarded by US marines, and looks a little like the less-than-heavenly site in which the end of Godard's 'Weekend' was played out. This playfulness and self-referentiality was typical of the rest of the film also, for example, in the trio of vocal Native Americans reminiscent of characters in 'Sympathy for the Devil'. Where does quotation end and creation begin? Godard's work is full of citation and self-allusion, but due to the (specifically filmic) nature of montage and narrative context, these citations and allusions take on new meanings.

The film is, therefore, certainly elitist, as are so many great films (and novels for that matter). 'Notre Musique' demands a cine-literate viewer, and preferably also familiar with Godard, since there is a lot of meaningful and playful self-referentiality. (One could also argue that someone new to this kind of film-making might be challenged to improve their cine-literacy). More importantly, it demands an alert viewer, because there is potentially much more happening than merely what is on the screen. Godard, in examining filmic space has also created a space between screen and viewer, making him or her an active part of the process of meaning-making.

Certainly, if all films were of this caliber, one would get a sore head thinking them through, but it is important to be enlivened by such a work as this from time to time, just to remember film's artistic and intellectual potential.

13 of 25 people found this review helpful.  Was this review helpful to you? | Report this
Review this title | See all 23 user reviews »

Contribute to This Page