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 »
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 »
"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
Leave it up to Monsieur Godard to shoot his first film to directly address the Palastineans since Ici et ailleurs in '76 in Sarajevo with a cast that includes US Marines, Native Americans in full traditional regalia, and Godard himself in counter-sermonizing flesh. At least, and this is much more than trivial record keeping, the maestro has found a way to render his digital photography as gorgeous as the celluloid variety for which he is well known. The quality of the video images takes Notre Musique miles beyond the wan DV sections in Éloge de l'amour. This is all the more interesting considering his response, during the film's central writer's conference, to a question concerning whether or not digital cameras can save cinema. Godard stares into his DV lense and says nothing; the question cannot have an answer other than the one to be provided, immanently, vis-a-vis the unwinding of our collective species activity. Godard, as always, is best when he resists the unavailing temptation to answer the questions which constitute him as one of the most compelling artists of the 20th Century. Though his autodidactic flights of fancy may fail to soar as solidly as before, his discourses remain ultimately profound, his metaphors as unstintingly powerful as ever, his plagiarism as unflappable. He has begun to rely again on Borges, which is always good, and there is much less Merleau-Ponty. The only major flaw of the film is the opening section "Hell" (yes, Dante is backstage here folks), in which the montage is more of a groantage, in the manner of a Baraka (God no!) more than anything Eisenstein might recognize as dialectical. "Heaven", however, is wonderful. All Godard does is take the US Marine anthem at its word.
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