Goodbye to Language



IMDb Rating 5.9 10 5


Downloaded times
November 23, 2021


Jean-Luc Godard as Narrator
720p.BLU 1080p.BLU
637.32 MB
fre 2.0
23.976 fps
70 min
P/S N/A / N/A
1.28 GB
fre 2.0
23.976 fps
70 min
P/S N/A / N/A

Movie Reviews

Reviewed by StevePulaski 6 / 10 / 10

Think and feel rather than show and tell

Four years after French auteur Jean-Luc Godard's Film Socialisme, he comes back in full-force, toying with the 3D medium along with sticking to his vague methods of storytelling and development with Goodbye to Language. Godard continues to break down every cinematic convention, even over fifty years after revolutionizing just what cinema could be with his barrage of films from the French New Wave period. With this film, he bids farewell to language, focusing explicitly on the beauty of images and the erratic tonalities editing and visual manipulation can bring, continuing to play with the medium he hasn't kept his hands off since the 1950's. Goodbye to Language is more of a video essay than a conventional film. The bare basic plot follows two young lovers who share sexual intimacy, disjointed, philosophical conversation as if they've just been greeted with Enlightenment principles, and your usual monogamous quibbles. Interjected in the chronicles of this love story are the random adventures of a stray dog named Roxy, who comes between this young couple as the seasons fade into one another and as she wanders through different locales. The film could be summed up as an analysis of dualities in the world. Godard explores the idea of nature vs. metaphor, dividing the film into two segments of each. He explores the contrasting positions of male and female, European influence and Middle Eastern influence in modern day France through use of symbolic representations, man and nature, man and animal, and even idea and metaphor in one particular scene. This focus on dualism in every day life sets Goodbye to Language apart just a tad from most of Godard's contemporary offerings, which have been even more opaque and difficult to define. At a certain point, I ceased taking notes on the film from a critical thinking point-of-view and simply begun taking notes on what I saw. Goodbye to Language features some of the most striking imagery I have yet to see in a Godard film. Seeing it in 2D, however, for the first time ever, I felt like I was robbed of something. Godard's interest in 3D filmmaking in the last couple years stems from his interest in technology and its timestamp on culture and culture's progress. He claims that 3D has yet to really be defined in purpose, and that, like cinema, calls for rampant exploration and manipulation. While most use 3D as a flash-in-the-pan gimmick, Godard seemingly uses it as a way to manipulate the viewer in terms of perception and visual order. One particular scene is said to go from one single shot to two separate ones, which could be viewed clearly through the left and right eye, before assembling back into a single 3D shot. I assume that wasn't the only subversive use of 3D in the film, and I feel had I been fortunate enough to watch the film with that added benefit, for the first time, I would've had an experience that really would've affected the film and not just alter the medium I used to watch it. As is, in its 2D state, Goodbye to Language is still as frustrating as any Godard film. At the end of the experience, I find myself simply going over specific scenes rather than attempting to subscribe a meaning to the film entirely. The film is littered with fascinating shots that say more than narration ever could, with one particular shot being captured on a canted angle, showing the hands of three people at a small stand, two of which playing with their smartphones, the other paging through a book. Welcome to information gathering in the present day. So rarely has the current world been summed up so cleanly and elegantly in one unconventional shot. Another scene is just fascinating to look at, going from a canted angle showing the aforementioned couple naked before slowly panning to the right, readjusting itself to be a more traditional, straight-on full shot, before tilting itself again, this time to the right. Many videographic changes are present here too. While some scenes are saturated with so many unique colors, movement, and almost psychedelic visualizations, others are presented like soap operas, with very dark and almost artificial sets and moody color schemes to match. Stray musings coming from scattered, mostly unidentified characters like, "soon everyone will need an interpreter to understand the words coming from their own mouths" are heard on a frequent basis, showing that Godard is constantly thinking and feeling rather than showing or telling. The final Godardian principle Goodbye to Language adheres to is the fact that it's a lot more interesting to discuss than it is to sit through. Ambiguity is too specific to define the project, for not only does it barely qualify as a film but it's so indistinct that it can hardly be assigned any defining term. Beautiful visual poetry and scattered quotes of brilliance lurk all around this film, and my lower star rating is more out of compromise and downright uncertainty rather than an absolute truth. This is a work that can't accurately be defined nor accurately rated. It's far beyond the stars, some would say. NOTE: Finally, consider one of the most striking musings on the duality between imagination in reality, which comes at the very beginning of the film in form of a title card, a true Godardian convention if there ever were one. It reads, "those lacking imagination take refuge in reality." If Goodbye to Language proves anything, it's that Godard has found purgatory between those two locations. Starring: Héloïse Godet, Kamel Abdeli, Richard Chevallier, and Zoé Bruneau. Directed by: Jean-Luc Godard.

Reviewed by MOscarbradley 6 / 10 / 10

The old reprobate hasn't lost his touch

Jean-Luc Godard was 84 when he made "Goodbye to Language". It shared the Jury prize at Cannes with 25 year old Xavier Dolan's "Mommy". Age is no barrier when it comes to making movies, right? Easy to be innovative at any age, right; be that Dolan's mucking about with the size of the screen or 84 year old Godard's abandonment of narrative altogether. Neither film is likely to please all of the pundits although Godard's did come runner-up in Sight and Sound's poll of the best films of the year. Of course, it isn't just language that Godard is saying goodbye to here; by choosing to make his film in 3D it's as if he has decided to turn his back on 'conventional' film-making. It's not that we haven't been here before; the old codger has been subverting film language for decades. Since 'discovering' politics in the late sixties Godard has been dispensing with traditional narrative in film after film. If this is less political and even more abstract than we have come to expect it is no less infuriating though, for reasons I can't quite explain, it is also very watchable. That, of course, may have a lot to do with the look of the picture rather than the sound of it. Visually it is extraordinarily beautiful even if it makes no real sense, (perhaps you might pick up on his themes after several viewings). There are no real 'characters' as such though a man, a woman, (both frequently naked; even at 84 Godard likes his pound of flesh), and a dog appear frequently though it is sometimes hard to know who is actually speaking, not that it matters. This picture isn't called "Goodbye to Language" for nothing. Words are both profound and superfluous while the film itself feels like something we could just as easily have done without. That's not by way of criticism but is rather more a statement of fact that, I'm sure, Godard might endorse. I'm glad I've seen it and I'm glad the old reprobate is still flying in the face of fashion. No-one else could have made it and surely that is Godard's gift as well as his legacy.

Reviewed by Chris Knipp 6 / 10 / 10

Godard touches on old themes and does some neat tricks with 3D

To call a post-Nineties Jean-Luc Godard's film "accessible" would be a stretch. But his new one, Goodbye to Language, is discernibly more appealing and less of a slog (70 minuets instead of 104) than his Film Socialisme (NYFF 2010). The latter occasioned Todd McCarthy's angry-sounding assertion that Godard is mean-spirited and exhibits "the most spurious sort of anti-Americanism or genuinely profound anti-humanism, something that puts Godard in the same misguided camp as those errant geniuses of an earlier era, Pound and Céline." This is less visible in Goodbye to Language, which spends a lot of time with a naked middle-class white couple in an apartment, and with Godard's own dog, Roxy, and is playful enough to be shot in 3D, of which it makes some good use. I do not see that use as "revolutionary," as Mike D'Angelo did in a Cannes bulletin for The Dissolve. I think in the face of a rote-acknowledged "master" (and Godard really did seem exciting and revolutionary back in the days of Breathless and La Chinoise) whom one can't make head nor tail of, it's natural to pick out elements one enjoys and blow them up into something important. Thus one notes that the distorted color in Goodbye to Language is sometimes gorgeous. And one wishes that more mainstream films dared to do such things more often, with one excuse or another. Goodbye to Language, like Film Socialisme, is divided up into parts with portentous titles, which one would remember if they seemed to illustrate their titles in any relatable way. The NYFF festival blurb calls this "a work of the greatest freedom and joy," but it's not. It's didactic, full of general nouns (like "freedom" and "joy") thrown out with the verve of a French university student. It cites fifteen or twenty famous authors whose names were dropped or lines quoted; and ten or twelve classical composers, snippets of whose compositions are folded in to add flavor and importance. But when Mike D'Angelo says "it doesn't constantly seem as if he's primarily interested in demonstrating his own erudition," he's saying this because other Godard films have constantly seemed to be primarily interested in that, and this one just barely avoids it. Here's what D'Angelo observes in the film's 3D that he thinks revolutionary (and this one moment is indeed remarkable): "Turns out he'd had the camera pan to follow an actor walking away from another actor, then superimposed the pan onto the stationary shot, creating (via 3-D) a surreal loop that, when completed, inspired the audience to burst into spontaneous applause. " It's hard to describe, and strange, and indeed original. I'd very much like to have watched this sequence -- which you do have to take off your 3D glasses to appreciate the transformative nature of -- with an audience keen enough to have noted its cleverness and applauded it. The audience I was with applauded at the end, but that just felt like an obligatory gesture, not the "olé" of connoisseurs noting a visual coup. As D'Angelo says, since the Nineties Godard has been "a full-bore avant-garde filmmaker." This means his films are the kind of thing you might see showing in a loop in a darkened room of a museum. When any film makes no rational sense I remember my museum experiences of that kind of art film and am calmed. Such films have their place. They are like complex decorative objects. Yes, and Godard's references to Nietzsche (pronounced "NEETCH" by French- speakers) or Solzenitzen are like gilding on a frame. And offhand gibes like the man in the hat who says Solzenitzen didn't need Google (which also sounds funny in French) to make up the subtitle for a book, as D'Angelo puts it, "ranks high among the dumbest things a smart person has ever said." Godard is a smart person who in a long career has said plenty of dumb things. He would have been a lot better as a filmmaker if he'd done more showing and less telling, from a long way back. But parts of Farewell to Language are bold and visually stimulating, and ought to be studied by conventional filmmakers, editors, or cinematographers to get some more original visual ideas. I also like another D'Angelo's Dissolve note (and he himself says this is his favorite Godard film since Weekend): "According to my Twitter feed, Goodbye To Language has reinvented cinema again—one dude went full Pauline Kael and compared it to Picasso's Les Demoiselles d'Avignon." Unfortunately, some after the screening I saw, with bunch of ostensible film writers, out in the lobby some were pronouncing that this was "the future of cinema." Not Marvel Comics? Watched at NYFF 2014.

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