Film Socialisme

The film demonstrates that Jean-Luc Godard is capable of filming even in today's time, that he hasn't remained in the past, but his style is just so peculiar to me that I don't enjoy watching similar films. I feel there is a deeper thought here, but the form makes me not want to look for it. As an experiment, it is interesting, but as a statement, it is rather empty in my opinion. (12.12.2016)

According to Lyotard, the collapse of the "grand narratives" of modernity was accompanied by mourning - the mourning of the "postmodern" people at the end of the century over the certainties that those grand unifying stories of emancipation, freedom, and progress offered them. Here we can see the collapse of one of these grand narratives twice over - not only the collapse of the story of freedom and equality, the socialist ideal and a better society, but also the collapse of the linearly narrated film story, of a film unified by a certain principle (whether it is the bourgeois Hollywood dream of the main characters' crucial role, whose motivations unify the plot, or another weakened form of unification, such as a certain message, the chronology of events, logical causality of the story, etc.). If we return to the aforementioned mourning, it is clearly evident that it returns to us twice over. Not only within Godard's message, the lamentation over Europe's betrayal of its ideals, its effort to change and become better, but again purely within the framework of the film and its form - after all, what else but this mourning can "connect" (since I cannot use the word unify...) the individual fragments, caesuras, and singular fragments that the film is composed of other than this sad yet liberating human and film mourning? (30.03.2015)