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Goodbye to Language (2014)

Adieu au langage (original title)
Not Rated | | Drama, Fantasy | 28 May 2014 (France)
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1:27 | Trailer
A silent, surreal parallel between a couple and a dog.

Director:

Jean-Luc Godard

Writer:

Jean-Luc Godard
3 wins & 18 nominations. See more awards »

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Cast

Cast overview, first billed only:
Héloïse Godet ... Josette
Kamel Abdelli ... Gédéon (as Kamel Abdeli)
Richard Chevallier Richard Chevallier ... Marcus
Zoé Bruneau ... Ivitch
Christian Gregori ... Davidson
Jessica Erickson ... Mary Shelley
Marie Ruchat
Jeremy Zampatti
Daniel Ludwig Daniel Ludwig
Gino Siconolfi Gino Siconolfi
Isabelle Carbonneau Isabelle Carbonneau
Alain Brat Alain Brat
Stéphane Colin Stéphane Colin
Bruno Allaigre Bruno Allaigre
Alexandre Païta Alexandre Païta
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Storyline

The idea is simple: A married woman and a single man meet. They love, they argue, fists fly. A dog strays between town and country. The seasons pass. The man and woman meet again. The dog finds itself between them. The other is in one, the one is in the other and they are three. The former husband shatters everything. A second film begins: the same as the first, and yet not. From the human race we pass to metaphor. This ends in barking and a baby's cries. Written by Production

Plot Summary | Add Synopsis

Genres:

Drama | Fantasy

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official site [Japan]

Country:

Switzerland | France

Language:

French | English | German

Release Date:

28 May 2014 (France) See more »

Also Known As:

Adiós al lenguaje See more »

Filming Locations:

Switzerland See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Stereo

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Director Jean-Luc Godard never won any award at the Cannes Film Festival until he presented this film in its 67th edition, where he won the Jury prize (shared with Mommy (2014)). See more »

Goofs

In one scene near the end, the shadow of the camera equipment can be easily spotted. See more »

Connections

Edited from Only Angels Have Wings (1939) See more »

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User Reviews

Godard messes with your head, and you love it.
6 January 2015 | by jdesandoSee all my reviews

"Those lacking imagination take refuge in reality." (Beginning on-screen text)

Reality, equality, sexuality, conviviality, and more come from New Wave patriarch Jean Luc Godard in his newest exciting expressionistic mess, Goodbye Language 3D. It's a mash up of images that in the end add up to the master's take on the corruptions of communication, even his beloved cinema, and the challenges of loving while dealing with that very French "existentialism." The opening statement quoted above establishes the challenge of being your own person, your own creator, in the face of the world's sensory and intellectual influences. After all, for the existentialist it takes a lifetime to create a character, which in Godard's view of things, is shaped by forces outside the person, and inevitably doomed, except for the dog.

He is the avatar of uncorrupted essence, a Godardian motif whose sensory life is its whole life, with the exception of loving humans more than itself. The complicating factor of clashing characters, even those we communicate with daily, is expressed in a naked, adulterous couple. They seem to clash about staying with each other, having babies, and possibly the ennui of making love over an extended time.

As he sits on the "throne" like The Thinker, with accompanying scatological sounds, and naked she stares, he declares that "thought reclaims its place in poop." Well, life does become "s__t" for many humans, at least as Godard interprets life, but we share the crap together, equally, so to speak. On the TV screen, Godard places Ava Gardner and Gregory Peck mooning after each other in The Snows of Kilimanjaro. But that's the unreal movies, Godard's artistic medium, which is not the reality of the defecating lover.

In the end, it's about expressing us, as Godard ironically does in his title, emphasizing the participation of new technology like 3D. Images are his world, and seemingly he uses them to express his feeling of chaos in the film world. When he overlaps stereo images to confuse the audience, he is visually representing the fusion of contemporary conflicts in the image-communication grid. When a bookseller observes that Solzhenitsyn didn't need Google, Godard makes a powerful case for the non-technical world.

Goodbye to Language 3D is a sassy, subversive, disconcerting, sometimes humorous angle of vision from the infant terrible of French cinema and a cinematic prophet of doom. It's a long way from the carefree "Breathless" but close to the contemporary Babel of world dysfunction. Only a dog can see the world as it really is: We are getting things wrong all over the globe.


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