Exclusive: International sales rights for late iconic director Jean-Luc Godard’s final work Trailer Of The Film That Will Never Exist: Phony Wars have been acquired by Goodfellas ahead of its world premiere in Cannes Classics on Sunday.
The 20-minute work was written and directed by Godard in collaboration with Jean-Paul Battaggia, Fabrice Aragno and Nicole Brenez.
Godard often transformed his synopses into aesthetic programs. This film follows that tradition and remains his ultimate gesture of cinema.
The filmmaker accompanied the trailer with the following statement: “Rejecting the billions of alphabetic diktats to liberate the incessant metamorphoses and metaphors of a necessary and true language by re-turning to the locations of past film shoots while keeping track of modern times.”
The work is billed as A Saint Laurent by Anthony Vaccarello and Vixens production, in coproduction with L’Atelier.
“Saint Laurent is honored to present a special work Jean-Luc Godard was working on before passing,...
The 20-minute work was written and directed by Godard in collaboration with Jean-Paul Battaggia, Fabrice Aragno and Nicole Brenez.
Godard often transformed his synopses into aesthetic programs. This film follows that tradition and remains his ultimate gesture of cinema.
The filmmaker accompanied the trailer with the following statement: “Rejecting the billions of alphabetic diktats to liberate the incessant metamorphoses and metaphors of a necessary and true language by re-turning to the locations of past film shoots while keeping track of modern times.”
The work is billed as A Saint Laurent by Anthony Vaccarello and Vixens production, in coproduction with L’Atelier.
“Saint Laurent is honored to present a special work Jean-Luc Godard was working on before passing,...
- 5/19/2023
- by Melanie Goodfellow
- Deadline Film + TV
Exclusive: Venice and Toronto berths for Golden Lion winner’s drama.
The Match Factory will launch sales in earnest this autumn on Samuel Maoz’s Venice and Toronto drama Foxtrot, the writer-director’s anticipated follow-up to his 2009 narrative debut Lebanon, which won Venice’s Golden Lion and four Israeli Academy awards.
In Foxtrot, Michael and Dafna are devastated when army officials show up at their home to announce the death of their son Jonathan.
Michael becomes increasingly frustrated by overzealous mourning relatives and well-meaning army bureaucrats.
While his sedated wife rests, Michael spirals into a whirlwind of anger only to experience one of life’s unfathomable twists which rival the surreal military experiences of his son.
Footnote and Big Bad Wolves star Lior Ashkenazi leads cast alongside The Cakemaker and Notre Musique actress Sarah Adler.
The Israeli title, which has already drawn unannounced buyers, will get its world premiere in competition on the Lido before heading to Toronto...
The Match Factory will launch sales in earnest this autumn on Samuel Maoz’s Venice and Toronto drama Foxtrot, the writer-director’s anticipated follow-up to his 2009 narrative debut Lebanon, which won Venice’s Golden Lion and four Israeli Academy awards.
In Foxtrot, Michael and Dafna are devastated when army officials show up at their home to announce the death of their son Jonathan.
Michael becomes increasingly frustrated by overzealous mourning relatives and well-meaning army bureaucrats.
While his sedated wife rests, Michael spirals into a whirlwind of anger only to experience one of life’s unfathomable twists which rival the surreal military experiences of his son.
Footnote and Big Bad Wolves star Lior Ashkenazi leads cast alongside The Cakemaker and Notre Musique actress Sarah Adler.
The Israeli title, which has already drawn unannounced buyers, will get its world premiere in competition on the Lido before heading to Toronto...
- 8/16/2017
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
In 1960, Jean-Luc Godard’s first feature film, Breathless, would make him an icon of French cinema, inaugurating a career that has consistently expanded society’s definitions and expectations of cinema. That film alone would have reason enough to consider him an important filmmaker, but Godard went on to direct fourteen more features through 1967, culminating with his attack on bourgeois culture, Weekend.
Following this extraordinary run of films, Godard found himself at a moment of great change. His romantic and artistic partnership with Anna Karina had ended, to be replaced with a new (but short-lived) marriage to Anne Wiazemsky, who would serve as a bridge to the current youth culture. Godard’s politics had also changed considerably since the 1950s. His conservatism, a relic of his parents’s politics, had been replaced with an interest in Maoism and an increasing distaste for anything evoking America. (Classic Hollywood cinema initially got a pass,...
Following this extraordinary run of films, Godard found himself at a moment of great change. His romantic and artistic partnership with Anna Karina had ended, to be replaced with a new (but short-lived) marriage to Anne Wiazemsky, who would serve as a bridge to the current youth culture. Godard’s politics had also changed considerably since the 1950s. His conservatism, a relic of his parents’s politics, had been replaced with an interest in Maoism and an increasing distaste for anything evoking America. (Classic Hollywood cinema initially got a pass,...
- 10/25/2015
- by Brian Marks
- SoundOnSight
George Miller's Mad Max: Fury Road has been named best film of year by the International Federation of Film Critics.
The federation, comprised of 500 of the world's top critics, will honour Miller its Fipresci Grand Prix 2015..
The award will be presented to the Australian writer/director/producer at the opening ceremony of the 63rd Annual San Sebastián International Film Festival on September 18 in San Sebastian, Spain.
Since its early 2015 release, Mad Max has become one of the best-reviewed films of this or any year, earning a 98 per cent fresh rating on the online review aggregator Rotten Tomatoes, which lists Mad Max: Fury Road as the 12th best-reviewed film of all time.
Miller said he was proud of the Aussie cast and crew, "big time".
"Their skill set, their unfailing grace under pressure. This was a tough movie to make. It's so lovely to have our many labours acknowledged in this way.
The federation, comprised of 500 of the world's top critics, will honour Miller its Fipresci Grand Prix 2015..
The award will be presented to the Australian writer/director/producer at the opening ceremony of the 63rd Annual San Sebastián International Film Festival on September 18 in San Sebastian, Spain.
Since its early 2015 release, Mad Max has become one of the best-reviewed films of this or any year, earning a 98 per cent fresh rating on the online review aggregator Rotten Tomatoes, which lists Mad Max: Fury Road as the 12th best-reviewed film of all time.
Miller said he was proud of the Aussie cast and crew, "big time".
"Their skill set, their unfailing grace under pressure. This was a tough movie to make. It's so lovely to have our many labours acknowledged in this way.
- 9/1/2015
- by Inside Film Correspondent
- IF.com.au
Jean-Luc Godard has been marginalized, and even film critics, the lone voices one would assume would ably confront and digest and contextualize the work, have been running scared. (Certainly, few writing today seem to be even very aware that his newest, Goodbye to Language is not at all unlike Godard's recent features, especially 2001's In Praise of Love, 2004's Notre Musique, and 2010's Film Socialisme, and therefore should hardly be much of a head-slapper.) Somehow, the fourth dimension that Godard brought to cinema so long ago, and which has been copied and homaged so often since, has become an alien language, unfit for the twenty-first-century media life of hyper-convenience, data delivery, corporate-sponsored distraction engines and mega-populist "personal" entertainment matrices.>> - Michael Atkinson...
- 11/5/2014
- Fandor: Keyframe
Jean-Luc Godard has been marginalized, and even film critics, the lone voices one would assume would ably confront and digest and contextualize the work, have been running scared. (Certainly, few writing today seem to be even very aware that his newest, Goodbye to Language is not at all unlike Godard's recent features, especially 2001's In Praise of Love, 2004's Notre Musique, and 2010's Film Socialisme, and therefore should hardly be much of a head-slapper.) Somehow, the fourth dimension that Godard brought to cinema so long ago, and which has been copied and homaged so often since, has become an alien language, unfit for the twenty-first-century media life of hyper-convenience, data delivery, corporate-sponsored distraction engines and mega-populist "personal" entertainment matrices.>> - Michael Atkinson...
- 11/5/2014
- Keyframe
In today's roundup of news and views: Chris Marker's photographs taken in North Korea, David Lynch's depiction of Los Angeles, a discussion of the work of Claire Denis, a Martin Scorsese symposium, revisiting Michael Powell's The Tales of Hoffmann, Jonathan Rosenbaum on Jean-Luc Godard's Notre musique, a collection of writing by George Kuchar, an interview with Abdellah Taïa, Christopher Hitchens on John Wayne, reviews of David Cronenberg's first novel, Tom Tykwer's plans for a television series set in Berlin in the 1920s, Joe Sarno Day at DC's and more. » - David Hudson...
- 10/8/2014
- Fandor: Keyframe
In today's roundup of news and views: Chris Marker's photographs taken in North Korea, David Lynch's depiction of Los Angeles, a discussion of the work of Claire Denis, a Martin Scorsese symposium, revisiting Michael Powell's The Tales of Hoffmann, Jonathan Rosenbaum on Jean-Luc Godard's Notre musique, a collection of writing by George Kuchar, an interview with Abdellah Taïa, Christopher Hitchens on John Wayne, reviews of David Cronenberg's first novel, Tom Tykwer's plans for a television series set in Berlin in the 1920s, Joe Sarno Day at DC's and more. » - David Hudson...
- 10/8/2014
- Keyframe
I started writing this piece a little over two years ago when, wondering if this was a debate whose terms I wanted to propagate, I thought twice. After the recent Godard retro in New York, however, thinking thrice, I've decided not to think about it again. With very special thanks to Sam Engel, Matthew Flanagan, Danny Kasman, Andy Rector, Gina Telaroli, who provided so much of the source code for this piece. There's no greater fount of wisdom in the world for a guy to plagiarize.
And so:
***
“Pauvres choses! Elles n’ont que le nom qu’on leur impose.”
“Poor things! They have nothing but the name imposed upon them.” — Film Socialisme
“You can stick your little pins in that voodoo doll.
Very sorry baby, doesn’t look like me at all.” — Leonard Cohen, “Tower of Song”
"Three Jewish characters, it's a lot for a single film. The fourth...
And so:
***
“Pauvres choses! Elles n’ont que le nom qu’on leur impose.”
“Poor things! They have nothing but the name imposed upon them.” — Film Socialisme
“You can stick your little pins in that voodoo doll.
Very sorry baby, doesn’t look like me at all.” — Leonard Cohen, “Tower of Song”
"Three Jewish characters, it's a lot for a single film. The fourth...
- 12/5/2013
- by David Phelps
- MUBI
To accompany the exhaustive retrospective of the films of Jean-Luc Godard (49 programs in 21 days) that started as part of the New York Film Festival and runs through the end of October, I had planned to select my ten all-time favorite posters for Godard’s films. But when I sat down to the task and laid out the ten I’d chosen in front of me, the result was a selection of posters so overly familiar as to be banal. It looked like the postcard rack of any film bookstore in Paris. Much as I had hoped to choose less obvious designs, when it came down to it the posters created for Godard’s films in the 60s are hands down among the greatest film posters ever made: Clément Hurel’s Breathless, Chica’s Une femme est une femme, Jacques Vaissier’s Vivre sa vie, Georges Kerfyser’s Band à part and Une femme mariée,...
- 10/18/2013
- by Adrian Curry
- MUBI
When the opportunity arose at the Locarno Film Festival to interview Fabrice Aragno, one of the cinematographers of Jean-Luc Godard's Film socialisme as well as his forthcoming 3D film Adieu au langage, I jumped at it. It was a chance to uncover some of what went on in the making of what is one of the most exciting films in recent years, a great work that ennobles the potential of digital form(s). It was also a chance to get a different perspective on Godard himself, without having to read into his own coded words. Aragno is a filmmaker in his own right, and recently completed a documentary with Godard that was commissioned by Swiss Television (and actually features some footage from Adieu au langage). What our conversation revealed to me was a new, simpler image of Godard, of a curious, creatively generous man with a collaborative spirit. Not...
- 10/23/2012
- by Adam Cook
- MUBI
Dear Danny,
Ah, Passion. Perhaps not the film of the festival for me (that’s still Like Someone in Love), but certainly the one that most tickled my cinephilia. Like Kiarostami’s film, it’s a wondrous feat (a series of feats, really) of misdirection. Who are these characters who look like Rachel McAdams and Noomi Rapace and Karoline Herfurth but are actually gimlet-eyed projections from cinema’s past? Abstractions, sure, yet when do abstractions exude such a feeling of heated flesh, of shards of fantasies being moved around the screen like drops of mercury? The layers upon layers of De Palma’s artifice dare us to find out. It’s a crazy, thorny spiral of a movie, not “campy” but funny. Think of McAdams, done up like a parody of Grace Kelly (her blonde hair for some reason looking like a wig) in her wood-paneled office with the word “Image” spelled in red,...
Ah, Passion. Perhaps not the film of the festival for me (that’s still Like Someone in Love), but certainly the one that most tickled my cinephilia. Like Kiarostami’s film, it’s a wondrous feat (a series of feats, really) of misdirection. Who are these characters who look like Rachel McAdams and Noomi Rapace and Karoline Herfurth but are actually gimlet-eyed projections from cinema’s past? Abstractions, sure, yet when do abstractions exude such a feeling of heated flesh, of shards of fantasies being moved around the screen like drops of mercury? The layers upon layers of De Palma’s artifice dare us to find out. It’s a crazy, thorny spiral of a movie, not “campy” but funny. Think of McAdams, done up like a parody of Grace Kelly (her blonde hair for some reason looking like a wig) in her wood-paneled office with the word “Image” spelled in red,...
- 9/13/2012
- MUBI
Blu-ray & DVD Release Date: Jan. 10, 2012
Price: DVD $29.95, Blu-ray $34.95
Studio: Kino Lorber
Legendary filmmaker Jean-Luc Godard’s latest film drama, 2010’s Film Socialisme, is the first narrative movie he’s directed since 2004’s Notre musique.
A filmic essay on the state of contemporary Europe, international politics and Western history, Film Socialisme is structured as a cinematic “symphony.”
The film is divided into three “movements:” aboard a luxury cruise ship, where a multitude of passengers (including rock poet Patti Smith) from varying stations intersect; a rural gas station, where two children seek explanations from their parents on the ideas of Liberty, Equality and Fraternity; and concluding with visits to six ports of call, each tied to key historical events that Godard examines in a political context: Barcelona, Naples, Greece, Odessa, Palestine and Egypt.
Film Socialisme was seen at the world’s leading film festivals (it screened at Cannes, Toronto, New York, Milan,...
Price: DVD $29.95, Blu-ray $34.95
Studio: Kino Lorber
Legendary filmmaker Jean-Luc Godard’s latest film drama, 2010’s Film Socialisme, is the first narrative movie he’s directed since 2004’s Notre musique.
A filmic essay on the state of contemporary Europe, international politics and Western history, Film Socialisme is structured as a cinematic “symphony.”
The film is divided into three “movements:” aboard a luxury cruise ship, where a multitude of passengers (including rock poet Patti Smith) from varying stations intersect; a rural gas station, where two children seek explanations from their parents on the ideas of Liberty, Equality and Fraternity; and concluding with visits to six ports of call, each tied to key historical events that Godard examines in a political context: Barcelona, Naples, Greece, Odessa, Palestine and Egypt.
Film Socialisme was seen at the world’s leading film festivals (it screened at Cannes, Toronto, New York, Milan,...
- 12/1/2011
- by Laurence
- Disc Dish
"No Comment," reads the final title card of Film Socialisme. Despite being on screen for only a few seconds, it's become—in the year or so since Film Socialisme played at Cannes—the film's calling card, an endlessly Tweeted cinephilic in-joke repurposed as often to express love for the film as frustration with it. Coming at the end of a stridently polyglot movie stuffed with statements, "No Comment" stands out by being 1) a well-known English phrase and 2) the ultimate non-statement. On its own, it appears to be a puckish deflection, a great big jokey shrug to ward off interpretation and criticism, but within the context of the film—and, most importantly, as the last thing the audience sees—it reveals itself as the opposite.
Film Socialisme ranks as one of Jean-Luc Godard's most optimistic films, one of his most idealistic, for the simple reason that it seems to have...
Film Socialisme ranks as one of Jean-Luc Godard's most optimistic films, one of his most idealistic, for the simple reason that it seems to have...
- 6/8/2011
- MUBI
Jean-Luc Godard's entire career can seem like an endless attempt to top himself. "Film Socialism," which finally receives a U.S. theatrical release this week, has much in common with the 80-year-old French director's other essay films, including the sprawling "Histoire(s) du cinéma" and "Notre Musique," but it's a thing of strange wonder that stands alone. With a ruminative approach to memory and nationality has no specific parallel in contemporary cinema, ...
- 6/2/2011
- Indiewire
'Poor Europe,' decrees one of the characters in Film Socialisme, Jean-Luc Godard's latest. 'Conquered by suffering. Humiliated by liberty.' It's the kind of line that drives Godard detractors nuts - his films are filled with empty aphorisms! Pretensions to meaning that bask in their difficulty! - at the same time that they delight his fans. Godard's body of work is nothing if not aphoristic, and the axioms he seems to spit out with the speed of a tennis feeder are hardly lacking here. However, after making one of his most accessible - and greatest - films in 2004's Notre Musique, Godard has decided to return to feature filmmaking (after a six-year hiatus [the film premiered at Cannes in 2010], an eternity in Godard-years) with a pointed twist: the subtitles to his latest film are not subtitles in the traditional sense. Rather, they are elliptical, abstract subtitles, subtitles with whole chunks of dialogue un-translated. Godard...
- 6/1/2011
- TribecaFilm.com
Warning: This Post Contains A Big Spoiler In Contention’s Guy Lodge reports that the Fipresci has chosen Roman Polanski’s brilliant (if you see it a few times and...
- 9/20/2010
- by Sasha Stone
- AwardsDaily.com
This week Pinkos wants your help to assemble a sequence of clips featuring Eisenstein's much-copied creation
Sergei Eisenstein presented his theory of montage to an august group of cineastes in the 1920s. It was, he said, "the nerve of cinema", and that "to determine the nature of montage is to solve the specific problem of cinema". Eighty odd years later, his theory finally came to the attention of the wider world, as the subject of a song in Team America: World Police.
The word can be taken in several different ways. Deriving from the French word for "assembly", in Gallic film practice it simply refers to the editing process. For Eisenstein's Soviet colleagues, it was a means to derive an abstract meaning from a combination of shots in sequence. Nowadays, thanks to Rocky et al, a montage is a cliched sequence where a song (usually a pounding rock anthem) or...
Sergei Eisenstein presented his theory of montage to an august group of cineastes in the 1920s. It was, he said, "the nerve of cinema", and that "to determine the nature of montage is to solve the specific problem of cinema". Eighty odd years later, his theory finally came to the attention of the wider world, as the subject of a song in Team America: World Police.
The word can be taken in several different ways. Deriving from the French word for "assembly", in Gallic film practice it simply refers to the editing process. For Eisenstein's Soviet colleagues, it was a means to derive an abstract meaning from a combination of shots in sequence. Nowadays, thanks to Rocky et al, a montage is a cliched sequence where a song (usually a pounding rock anthem) or...
- 12/10/2009
- The Guardian - Film News
New Wave legend Jean-Luc Godard is still going strong at the ripe old age of 78 and, judging by rumours linking him to a big screen adaptation of a bestselling Holocaust memoir, has no plans to stop his auteuring magic any time soon.Word is that Godard was taken by 'The Lost: A Search for Six of Six Million', an account by NY Times writer Daniel Mendelsohn of his attempt to find out what happened to his Polish ancestors during the Holocaust. The French/Swiss filmmaker will turn his attention to The Lost when he wraps up current project Socialisme.Always a political filmmaker, Godard has never been afraid to tackle the tough stuff and his 2004 feature Notre Musique touches on similar themes - collective guilt and conflict - as does his anti-war pic Les Carabiniers (1963). Alphaville is about a futuristic city controlled by a giant computer, but it's very good...
- 6/4/2009
- EmpireOnline
By Michael Atkinson
The new Israeli film "Jellyfish" (2007) -- co-directed by lifemates Etgar Keret and Shira Geffen, and a Camera d'Or winner at Cannes -- is both familiar and otherworldly. Israeli filmmakers, doubtlessly because of their particularly tense position in the world, of their society's fervent militarization and of the question of the Palestinians, love the everyone's-connected social-weave film, à la "Crash" (Amos Gitai has made several), bouncing amongst a variety of intersecting characters as a way to paint a portrait of the whole culture. As a sub-subgenre, it has its pitfalls, but as all of our cultures become more and more deracinative and immigrant-scrambled, it's easy to see the idea's allure. "Jellyfish," fortunately, adopts the mode but maintains modesty: a mere 78 minutes long (hallelujah), the movie is sharp and poetic on particulars (somewhat like Keret's short fiction, though Geffen is credited as the screenwriter), and is rescued from undue...
The new Israeli film "Jellyfish" (2007) -- co-directed by lifemates Etgar Keret and Shira Geffen, and a Camera d'Or winner at Cannes -- is both familiar and otherworldly. Israeli filmmakers, doubtlessly because of their particularly tense position in the world, of their society's fervent militarization and of the question of the Palestinians, love the everyone's-connected social-weave film, à la "Crash" (Amos Gitai has made several), bouncing amongst a variety of intersecting characters as a way to paint a portrait of the whole culture. As a sub-subgenre, it has its pitfalls, but as all of our cultures become more and more deracinative and immigrant-scrambled, it's easy to see the idea's allure. "Jellyfish," fortunately, adopts the mode but maintains modesty: a mere 78 minutes long (hallelujah), the movie is sharp and poetic on particulars (somewhat like Keret's short fiction, though Geffen is credited as the screenwriter), and is rescued from undue...
- 9/30/2008
- by Michael Atkinson
- ifc.com
SAN SEBASTIAN, Spain -- The 52nd San Sebastian International Film Festival kicked off Friday with Woody Allen gracing the stage on the festival's opening night to present his film Melinda and Melinda, which opened the official competition with its world premiere. French producer Ruth Waldburger picked up the Fipresci Best Film of the Year Award for Notre Musique from Fipresci honorary president Derek Malcolm, who called San Sebastian the "friendliest festival in the world." The ceremony, held in the Kursaal convention center, was presented by Spanish journalist Edurne Ormazabal and Spanish actresses Aitana Sanchez-Gijon and Leonor Watling in Spanish, English and the local Basque language as is customary for the festival held in Spain's northern Basque region.
- 9/20/2004
- The Hollywood Reporter - Movie News
TORONTO -- Taylor Hackford's Ray, a biopic about Ray Charles starring Jamie Foxx, and Tom Hooper's directorial debut, Red Dust, which stars Hilary Swank, are to receive world premieres at the upcoming Toronto International Film Festival. Festival organizers also said Tuesday that the festival will feature North American premieres for Zhang Yimou's House of Flying Daggers, Jean-Luc Godard's Notre Musique, Benoit Jacquot's A tout de suite and Patricio Guzman's Salvador Allende, and the Canadian premiere of Chantal Akerman's Demain on demenage. In the Special Presentations sidebar, Toronto will unspool world premieres for John Sayles' Silver City, Enduring Love and Terry George's Hotel Rwanda, as well as the North American premieres of Dylan Kidd's P.S., Darrell Roodt's Yesterday and Todd Solondz's Palindromes.
- 7/13/2004
- The Hollywood Reporter - Movie News
PARIS -- Jean-Luc Godard's new film, Notre Musique (Our Music), will be screened as part of the official selection's Out of Competition lineup at the 57th Festival de Cannes, organizers said over the weekend. The film, also scripted by Godard, features mainly unknown actors. Using images of war, executions and destruction, Musique is a telling indictment of our times. Shot partly in Sarajevo and full of allusions to modern-day conflicts, the film is divided into three parts, or "kingdoms" -- Enfer (Hell), Purgatoire (Purgatory) and Paradis (Paradise). Cannes organizers said there was a surprise in store for the director during the film's screening, but did not provide any additional details. Godard was last in Cannes in 2001, with his In Praise of Love featured in the competition section. The Festival de Cannes runs May 12-23.
- 4/11/2004
- The Hollywood Reporter - Movie News
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