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Nient'altro che silenzio. Solo una canzone rivoluzionaria. Una storia in cinque capitoli come le cinque dita di una mano.Nient'altro che silenzio. Solo una canzone rivoluzionaria. Una storia in cinque capitoli come le cinque dita di una mano.Nient'altro che silenzio. Solo una canzone rivoluzionaria. Una storia in cinque capitoli come le cinque dita di una mano.
- Premi
- 4 vittorie e 6 candidature
Jean-Luc Godard
- Narrator
- (voce)
Wallace Beery
- Un acteur
- (filmato d'archivio)
- (non citato nei titoli originali)
Jules Berry
- Un acteur
- (filmato d'archivio)
- (non citato nei titoli originali)
Gaby Bruyère
- Une actrice
- (filmato d'archivio)
- (non citato nei titoli originali)
Roberto Cobo
- Un acteur
- (filmato d'archivio)
- (non citato nei titoli originali)
Jean Cocteau
- Un acteur
- (filmato d'archivio)
- (non citato nei titoli originali)
Eddie Constantine
- Un acteur
- (filmato d'archivio)
- (non citato nei titoli originali)
Danielle Darrieux
- Une actrice
- (filmato d'archivio)
- (non citato nei titoli originali)
Josette Day
- Une actrice
- (filmato d'archivio)
- (non citato nei titoli originali)
Douglas Fairbanks
- Un acteur
- (filmato d'archivio)
- (non citato nei titoli originali)
Jean Gabin
- Un acteur
- (filmato d'archivio)
- (non citato nei titoli originali)
Jean Galland
- Un acteur
- (filmato d'archivio)
- (non citato nei titoli originali)
Buster Keaton
- Un acteur
- (filmato d'archivio)
- (non citato nei titoli originali)
Jean Marais
- Un acteur
- (filmato d'archivio)
- (non citato nei titoli originali)
Trama
Lo sapevi?
- QuizThe 45th and last feature film of French director Jean-Luc Godard.
- ConnessioniFeatures L'arrivo di un treno alla stazione di La Ciotat (1896)
Recensione in evidenza
For years Jean-Luc Godard has been reducing his cinema to increasingly symbolic and minimalist layers. If in the 70s and 80s, his work already called attention to an "absence of script", which in fact was a text with broad lines that played for the improvisation on the scene in the following decades until the work of the actors began to be kept to a minimum.
His films today are like collages of history and reflections on the subjects to which he have more interest: history and cinema. And the parallelism that one has with the other.
The prolific director's newest work, "The Image Book" is the apex of his cinema of symbolism and collage. There are no actors. At most Godard's cavernous voice, today with 88, narrating the film is making reflections on the twentieth century, the new century, humanity, society, and, of course, the cinema.
For Godard, cinema is the book of images of the twentieth century. Just as the Bible, the Koran and other religious texts are the basis for life in society and tell the story within their respective religions, cinema is the documentation of the history of modernity and contemporaneity.
Through "The Image Book" Godard invites us to reflect on history. And it builds a journey through the twentieth century in an incessant collage of images and sounds that permeate the history of art in its most different forms. All divided into five acts, as five are the fingers of the hands, as five are the senses. Five is a number that runs through the entire film, as well as the metaphor around the hands and their symbolic meanings in each attitude.
It is through this metaphor of the hands that Godard draws attention to a history constructed by the signs of body language. They are the hands used for love, but they also bring disappointment in the first act, the hands used for the violence of the second act or the hands that legitimize the use of force by the spirit of the laws of the fourth act.
The first part of the film is a set of reflections of what Godard had already somehow talked about in other works like "Film Socialism" (2010) or "Forever Mozart" (1996).
The last part is that it brings a Godard with a look at the Middle East rarely, or perhaps never before, shown so deeply. From a play on words stating that "Sheherazade would have told a different story in 1001 days," and not nights like the traditional story, Godard displays the bankruptcy of the west's gaze over the east.
For him, we see the Orient as a unique cultural mass, and not as if each country had its own culture and worldview. In the same way that we look to the east as the mirror of what we are not. And this is reflected in the way the cinema portrays the Orient. It is when the hands arise in delicate movements, painted with symbols that we do not understand or hold tightly the Koran in his prayer.
In a more controversial moment, Godard supports the bomb. Appeals to the positive side of the bomb. The bomb, he sees, is the revolution as it once was in Europe. It is the reaction of the oppressed. It is difficult to support this in times when Europe suffers so much from terrorist attacks. But it is possible to understand Godard's side by trying to show this as reaction rather than action. Hence the parallel with revolutionary movements.
Godard is a genius. Often misunderstood, often seen as annoying and difficult to understand. But his film remains alive, thought-provoking and pleasurable for those who accept the challenge of trying to decipher it with each job.
His films today are like collages of history and reflections on the subjects to which he have more interest: history and cinema. And the parallelism that one has with the other.
The prolific director's newest work, "The Image Book" is the apex of his cinema of symbolism and collage. There are no actors. At most Godard's cavernous voice, today with 88, narrating the film is making reflections on the twentieth century, the new century, humanity, society, and, of course, the cinema.
For Godard, cinema is the book of images of the twentieth century. Just as the Bible, the Koran and other religious texts are the basis for life in society and tell the story within their respective religions, cinema is the documentation of the history of modernity and contemporaneity.
Through "The Image Book" Godard invites us to reflect on history. And it builds a journey through the twentieth century in an incessant collage of images and sounds that permeate the history of art in its most different forms. All divided into five acts, as five are the fingers of the hands, as five are the senses. Five is a number that runs through the entire film, as well as the metaphor around the hands and their symbolic meanings in each attitude.
It is through this metaphor of the hands that Godard draws attention to a history constructed by the signs of body language. They are the hands used for love, but they also bring disappointment in the first act, the hands used for the violence of the second act or the hands that legitimize the use of force by the spirit of the laws of the fourth act.
The first part of the film is a set of reflections of what Godard had already somehow talked about in other works like "Film Socialism" (2010) or "Forever Mozart" (1996).
The last part is that it brings a Godard with a look at the Middle East rarely, or perhaps never before, shown so deeply. From a play on words stating that "Sheherazade would have told a different story in 1001 days," and not nights like the traditional story, Godard displays the bankruptcy of the west's gaze over the east.
For him, we see the Orient as a unique cultural mass, and not as if each country had its own culture and worldview. In the same way that we look to the east as the mirror of what we are not. And this is reflected in the way the cinema portrays the Orient. It is when the hands arise in delicate movements, painted with symbols that we do not understand or hold tightly the Koran in his prayer.
In a more controversial moment, Godard supports the bomb. Appeals to the positive side of the bomb. The bomb, he sees, is the revolution as it once was in Europe. It is the reaction of the oppressed. It is difficult to support this in times when Europe suffers so much from terrorist attacks. But it is possible to understand Godard's side by trying to show this as reaction rather than action. Hence the parallel with revolutionary movements.
Godard is a genius. Often misunderstood, often seen as annoying and difficult to understand. But his film remains alive, thought-provoking and pleasurable for those who accept the challenge of trying to decipher it with each job.
- alvesmarceloalves-73751
- 23 dic 2018
- Permalink
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Dettagli
- Data di uscita
- Paesi di origine
- Siti ufficiali
- Lingue
- Celebre anche come
- The Image Book
- Luoghi delle riprese
- Tunisia(Some scenes according to Vincent Maraval)
- Aziende produttrici
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Lordo Stati Uniti e Canada
- 94.153 USD
- Fine settimana di apertura Stati Uniti e Canada
- 13.854 USD
- 27 gen 2019
- Lordo in tutto il mondo
- 132.015 USD
- Tempo di esecuzione1 ora 28 minuti
- Colore
- Mix di suoni
- Proporzioni
- 1.78 : 1
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