Adieu au langage (3D)

Certain artists care enough about their métier to believe that it, too, ages and must face death with failing senses and memory,” wrote Edward Said in his book on twilight forms of artistic production. Late style: it can be a matter of finding peace and reconciliation, or it can be a matter of intransigence and refusal. ADIEU AU LANGAGE is proof of how thoroughly Jean-Luc Godard took the second path. As Hollywood flailed through a sad wave of stereoscopic realism, he faced the transformations of cinema in radically diferent fashion, experimenting with 3D, collage and the textures of digital video in ways that render his métier’s future inextricable from its past. Unapologetically difcult, ADIEU AU LANGAGE breaks every rule and troubles the production of unity at every turn: not just in its depiction of heterosexual couples, but also, and never more spectacularly, than in its famous “separation shot,” in which the two components of the stereoscopic image drift apart. And at the centre of it all is the film’s inimitable star, Godard’s dog, Roxy Miéville—an animal presence that invites us to imagine a relation to the world before the word, in tune with the rumble of things. (Erika Balsom)

With REVOLVING ROUNDS (3D).
In the presence of Fabrice Aragno.

Jean-Luc Godard: À BOUT DE SOUFFLE (1959), UNE FEMME EST UNE FEMME (1961), LE PETIT SOLDAT (1963), LES CARABINIERS (1963), LE MÉPRIS (1963), BANDE À PART (1964), ALPHAVILLE (1965), PIERROT LE FOU (1965), MASCULIN FÉMININ (1966), MADE IN U.S.A (1966), LA CHINOISE (1967), WEEK END (1967), SAUVE QUI PEUT LA VIE (1980), TOUT VA BIEN (1972), ICI ET AILLEURS (1976), SAUVE QUI PEUT (LA VIE) (1980), PASSION (1982), PRÉNOM CARMEN (1983), DÉTECTIVE (1985), ALLEMAGNE 90 NEUF ZÉRO (1991), ELOGE DE L’AMOUR (2001), NOTRE MUSIQUE (2004), VRAI FAUX PASSEPORT (2006), FILM SOCIALISME (2010), LE LIVRE D’IMAGE (2018)