Jean-Luc Godard

Jean-Luc Godard

Artículos

DURAS/GODARD DIALOGUES: I KNEW HER FOR TWO OR THREE YEARS

By Dina Pokrajac

Dialogues between Marguerite Duras and Jean-Luc Godard represent a starting point and a useful landmark for a true evaluation of the relationship between the written word and the image. In one interview from 1997, Godard said that he knew Duras “for two or three years”, evoking the title of his film Two or Three Things I Know about Her. Godard and Duras were meeting for a few years to discuss the subject of their interest: a radical dichotomy between image and sound, portraying the unportrayable (such as concentration camps and incest), as well as childhood and television.

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Críticas

PAUL GRIVAS: “HE APRENDIDO LA LIBERTAD CON QUE SE TIENEN QUE TRATAR LAS IMÁGENES”

Por José Sarmiento Hinojosa

La magnífica Film Catastrophe de Paul Grivas, estrenada en 2018, revisita imágenes del icónico navío Costa Concordia, lugar de filmación de Film Socialisme (2010), la primera ventura en digital del maestro Jean-Luc Godard. Aquí, Paul Grivas nos devuelve las imágenes del proceso de filmación de Godard, un estilo de film guerrilla donde vemos la creatividad de uno de los genios más grandes de este siglo.

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Q&A

PAUL GRIVAS: “THE IMAGES ARE THERE FOR THE TAKING, YOU JUST GOT TO PICK THEM UP”

By José Sarmiento Hinojosa

The remarkable Film Catastrophe, premiered last year, revisits certain images from the iconic ship Costa Concordia, main location for Film Socialisme (2010) the first venture in digital film by master Jean-Luc Godard. Here, Paul Grivas gives back to us certain images of the creation process by Godard, a kind of guerrilla filmmaking where we can witness the creativity of one of the greatest geniuses of this century.

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Cannes

CANNES 2018: A BALANCE

By Mónica Delgado

It’s been over a week since the Golden Palm was awarded to Hirokazu Kore-eda Shoplifters, an event which closed a festival that kept its classics leitmotivs in a low key: miserabilism, cruelty or the overrating of a cinema with messages and big issues had its few peaks. Even if this year the program was better in quality compared to other edition, the jury, presided by Cate Blanchett, was discreet when awarding common themes, like the award given to the unambitious Kore-eda film, a plain family drama without any major stylistic attributes. Point aside was the jury prize to Capharnaum by Libanese filmmaker Nadine Labaki, a fact which confirm that despite the good films that made this a noble edition, remains a liking for the kind of films that look to edify consciences through stories of misery, war and refugees.

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Cannes

CANNES 2018: LE LIVRE D’IMAGE BY JEAN-LUC GODARD

By Mónica Delgado

In Le Livre d’Image, Godard not only elaborates an essay on image and words about the inevitable repetition (as a key concept) and the role of memory in that matter, but he also gives an outstanding offer about materiality of cinema from the digital format, which dilates or exorcises it.

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Cannes

CANNES 2018: LE LIVRE D’IMAGE DE JEAN-LUC GODARD

Por Mónica Delgado

Jean-Luc Godard es el único cineasta del mundo que logra meter a más de tres mil personas a una sala para hacerlos ver (u obligarlos a ver) cine experimental. Por ello, resulta interesante la inclusión de un film como Le Livre d’Image (The Image Book) en la competencia oficial de la 71° edición de Cannes, tanto en el aspecto extracinematográfico que menciono, de convocar a críticos y periodistas que extrañan al cineasta de Al final de la escapada, Week-end o Pierrot Le Fou (la película del afiche oficial de este año), como en el aspecto del ensayo experimental en sí, la de Godard convirtiendo la sala Lumiére en una gran instalación o espacio de experimentación.

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Críticas

VALDIVIA 2017: GRANDEUR ET DECADENCE D’UN PETIT COMMERCE DE CINEMA DE JEAN-LUC GODARD

Por Mónica Delgado

Ante el estreno comercial en diversas partes del mundo de la inefable Le Redoutable de Michel Hazanavicius, que satiriza de modo grotesco (hasta de mal gusto) el rodaje de La Chinois con un Louis Garrel como pastiche de Jean-Luc Godard, el reestreno de Grandeur et décadence d’un petit commerce de cinéma se vuelve un maravilloso acto de justicia divina, para el mismo cineasta, para la cinefilia, y los cinéfilos.

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Cannes

CANNES 2014: ADIEU AU LANGAGE BY JEAN-LUC GODARD

By Mónica Delgado

The title says it all. In Adieu au Langage Jean-Luc Godard returns to the intentions of his episode for 3X3, but now reaffirming his least solemn side and carrying his reading about the perception of the technological, the impossibility of thought in any sort of «shareable» language  to its most sarcastic possibilities, leaving space for an scatological mockery in between philosophical dwellings by Levinas, Husserl or Merleau – Ponty.

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Main Articles

JE VOUS SALUE, SARAJEVO BY JEAN-LUC GODARD

By José Sarmiento Hinojosa

Je Vous Salue, Sarajevo is a heartfelt lament on the history of mankind, war, and the art of living. Never had Godard been so poetic; never had his poetry been so tragic, as if sadness permeated everything about what’s human. It is about Sarajevo, the Bosnian war, the Srebrenica massacre, at the time. But it is about war, about the true nature of mankind. A tragic truth that is present among us.

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