Jean-Luc Godard in his youthful days. Jean-Luc Godard solution for the Greek debt crisis: 'Therefore' copyright payments A few years ago, Nouvelle Vague filmmaker Jean-Luc Godard, while plugging his Film Socialisme, chipped in with a surefire solution for the seemingly endless – and bottomless – Greek debt crisis. In July 2011, Godard told The Guardian's Fiachra Gibbons: The Greeks gave us logic. We owe them for that. It was Aristotle who came up with the big 'therefore'. As in, 'You don't love me any more, therefore ...' Or, 'I found you in bed with another man, therefore ...' We use this word millions of times, to make our most important decisions. It's about time we started paying for it. If every time we use the word therefore, we have to pay 10 euros to Greece, the crisis will be over in one day, and the Greeks will not have to sell the Parthenon to the Germans.
- 6/30/2015
- by Andre Soares
- Alt Film Guide
Hail Mary
Written and directed by Jean-Luc Godard
France, 1985
When Jean-Luc Godard’s 1985 film Hail Mary was initially released, it set off a firestorm of protest. According to an article in a contemporary issue of Film Quarterly, the film was met with everything from “the Pope’s Vatican Radio denunciations and Italian magazine covers depicting barebreasted blondes on crucifixes, to Catholics lighting candles and shaking rosaries outside offending theaters.” The film was banned and was the subject of boycotts, and religious leaders worldwide deemed it blasphemous (a quote from Pope John Paul II, stating that the movie, “deeply wounds the religious sentiments of believers,” was displayed on a previously issued DVD almost as a badge of honor).
At the heart of the controversy, first and foremost, was the plot. Godard’s film is a modern-day retelling of the virgin birth. Here, Mary (Myriem Roussel) is a basketball-playing student who works...
Written and directed by Jean-Luc Godard
France, 1985
When Jean-Luc Godard’s 1985 film Hail Mary was initially released, it set off a firestorm of protest. According to an article in a contemporary issue of Film Quarterly, the film was met with everything from “the Pope’s Vatican Radio denunciations and Italian magazine covers depicting barebreasted blondes on crucifixes, to Catholics lighting candles and shaking rosaries outside offending theaters.” The film was banned and was the subject of boycotts, and religious leaders worldwide deemed it blasphemous (a quote from Pope John Paul II, stating that the movie, “deeply wounds the religious sentiments of believers,” was displayed on a previously issued DVD almost as a badge of honor).
At the heart of the controversy, first and foremost, was the plot. Godard’s film is a modern-day retelling of the virgin birth. Here, Mary (Myriem Roussel) is a basketball-playing student who works...
- 1/10/2014
- by Jeremy Carr
- SoundOnSight
Mind
“There is an image, and people believe me when I say I make films, because, well, in the end...because we used a camera, and there is an image,” muses Jean-Luc Godard to potential producers in his video pitch, Petites Notes à propos du film Je vous salue Marie (1983), shown at the 51st New York Film Festival’s retrospective programmed by Kent Jones and Jake Perlin, Jean-Luc Godard - The Spirit of the Forms. “People think everything comes from the camera.”
Sometimes I think the images come from inside myself. On rare occurrence, a picture unspools in front of me that in the moment has no antecedent in my mind. Its movement is that of a dream, spontaneously created, this instant’s images connected only by the most opaque thread to those behind them. Its future images, those that follow what I am seeing, are not predestined by the...
“There is an image, and people believe me when I say I make films, because, well, in the end...because we used a camera, and there is an image,” muses Jean-Luc Godard to potential producers in his video pitch, Petites Notes à propos du film Je vous salue Marie (1983), shown at the 51st New York Film Festival’s retrospective programmed by Kent Jones and Jake Perlin, Jean-Luc Godard - The Spirit of the Forms. “People think everything comes from the camera.”
Sometimes I think the images come from inside myself. On rare occurrence, a picture unspools in front of me that in the moment has no antecedent in my mind. Its movement is that of a dream, spontaneously created, this instant’s images connected only by the most opaque thread to those behind them. Its future images, those that follow what I am seeing, are not predestined by the...
- 10/11/2013
- by Daniel Kasman
- MUBI
[Our thanks to Ryland Aldrich for the following review.]
This year's Sundance Spotlight Surprise slot was filled by the documentary Exit Through The Gift Shop, directed by the enigmatic artist Banksy. The film is a documentation of the rise and subsequent commercialization of the street art movement, told via the narrative lens of one of the movement's most bizarre and commercially successful members, Thierry Guetta aka Mr. Brainwash. The film is wildly successful at both capturing an art form that's practice has been mostly hidden behind the cover of darkness, and at telling that interesting story of a truly kooky character. But the real success of the film is the questions it raises about the formation of the artist, the commerce of art, and the authenticity of documentary film.
The movie opens with a shrouded and vocally distorted Banksy explaining that while this movie was started as a documentary about him, he found the original filmmaker far more interesting.
This year's Sundance Spotlight Surprise slot was filled by the documentary Exit Through The Gift Shop, directed by the enigmatic artist Banksy. The film is a documentation of the rise and subsequent commercialization of the street art movement, told via the narrative lens of one of the movement's most bizarre and commercially successful members, Thierry Guetta aka Mr. Brainwash. The film is wildly successful at both capturing an art form that's practice has been mostly hidden behind the cover of darkness, and at telling that interesting story of a truly kooky character. But the real success of the film is the questions it raises about the formation of the artist, the commerce of art, and the authenticity of documentary film.
The movie opens with a shrouded and vocally distorted Banksy explaining that while this movie was started as a documentary about him, he found the original filmmaker far more interesting.
- 2/1/2010
- Screen Anarchy
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