VALUTAZIONE IMDb
5,7/10
2968
LA TUA VALUTAZIONE
Aggiungi una trama nella tua linguaThe passengers on a Mediterranean cruise enjoy their luxuries as a small family struggles with overbearing media attention.The passengers on a Mediterranean cruise enjoy their luxuries as a small family struggles with overbearing media attention.The passengers on a Mediterranean cruise enjoy their luxuries as a small family struggles with overbearing media attention.
- Premi
- 5 vittorie e 2 candidature
Agatha Couture
- Alissa (segment "Des choses comme ça")
- (as A. Couture)
Mathias Domahidy
- Mathias (segment "Des choses comme ça")
- (as M. Domahidy)
Quentin Grosset
- Ludovic (segment "Des choses comme ça")
- (as Q. Grosset)
Maurice Sarfati
- (segment "Des choses comme ça")
- (as M. Sarfati)
Nadège Beausson-Diagne
- Constance (segment "Des choses comme ça")
- (as N. Beausson)
Dominique Devals
- (segment "Des choses comme ça")
- (as D. Devals)
Marine Battaggia
- Florine "Flo" Martin (segment "Quo vadis Europa")
- (as M. Battaggia)
Trama
Lo sapevi?
- QuizThe film did not include traditional English language subtitles for releases in countries that spoke such language. Instead, the subtitles were in "Navajo English", a translation that baffled many critics and audience members.
- BlooperSomeone claims that Napoleon founded the Comédie-Française in 1812 in Moscow. Actually, it was founded in 1680 by Louis XIV.
- Citazioni
Rebecca (segment "Des choses comme ça"): [dialogue continuity] You're absolutely right: I don't love any "people." Not French, not North American, not German. Not Jewish people, not black people. I love only my friends... When there are any.
- ConnessioniEdited from La corazzata Potemkin (1925)
Recensione in evidenza
Jean-Luc Godard is a reference in cinema and changed the art fifty years ago with a unique challenging style that defied current esthetics and etiquette.
His latest work can be described more as an eclectic experiment than any enduring piece of cinema, but it serves to show his mastery of the art and his ability to dissect it in its most basic components before trying to create a different, distinct experience for the viewer. He plays with themes, locations, styles and intermingles with little restriction photos, videos, ambient sounds, silence, music, narrations, monologues, dialogues to delves into a dream-like undefined cinematic discussion.
The film does not quite work as a whole, precisely from this lack of focus, but some of the imagery (some sharp and some out of focus, some old and some new, some seemingly meaningless and some full of allegories, etc.), dialogues (existential, simple, social, revolutionary) and intertitles do reach a cord and will be remembered subconsciously or consciously. It's lack of clear content or continuity should not take away from it's task of deconstruction and desire to destabilise our current comforts. In that aspect, Godard grabs the rug under conventional cinema and pulls very hard to make it topple over dumbfounded and confused.
There are three segments, each shorter than the previous, but besides being glad to finally leave this seemingly derelict boat and to briefly know a fictional philosophising family, there is not enough distinction between the segments to warrant further feedback at this point. Only that as Godard's life perhaps, and exemplified in the crafty ancient time-telling device in segment #2, time is getting shorter...
Maybe we'll get it right some day, may be one of many messages of this remue-méninges.
His latest work can be described more as an eclectic experiment than any enduring piece of cinema, but it serves to show his mastery of the art and his ability to dissect it in its most basic components before trying to create a different, distinct experience for the viewer. He plays with themes, locations, styles and intermingles with little restriction photos, videos, ambient sounds, silence, music, narrations, monologues, dialogues to delves into a dream-like undefined cinematic discussion.
The film does not quite work as a whole, precisely from this lack of focus, but some of the imagery (some sharp and some out of focus, some old and some new, some seemingly meaningless and some full of allegories, etc.), dialogues (existential, simple, social, revolutionary) and intertitles do reach a cord and will be remembered subconsciously or consciously. It's lack of clear content or continuity should not take away from it's task of deconstruction and desire to destabilise our current comforts. In that aspect, Godard grabs the rug under conventional cinema and pulls very hard to make it topple over dumbfounded and confused.
There are three segments, each shorter than the previous, but besides being glad to finally leave this seemingly derelict boat and to briefly know a fictional philosophising family, there is not enough distinction between the segments to warrant further feedback at this point. Only that as Godard's life perhaps, and exemplified in the crafty ancient time-telling device in segment #2, time is getting shorter...
Maybe we'll get it right some day, may be one of many messages of this remue-méninges.
- christian94
- 19 ago 2012
- Permalink
I più visti
Accedi per valutare e creare un elenco di titoli salvati per ottenere consigli personalizzati
- How long is Film socialisme?Powered by Alexa
Dettagli
- Data di uscita
- Paesi di origine
- Sito ufficiale
- Lingue
- Celebre anche come
- Film Socialism
- Luoghi delle riprese
- Aziende produttrici
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Lordo Stati Uniti e Canada
- 42.925 USD
- Fine settimana di apertura Stati Uniti e Canada
- 4.526 USD
- 5 giu 2011
- Lordo in tutto il mondo
- 222.079 USD
Contribuisci a questa pagina
Suggerisci una modifica o aggiungi i contenuti mancanti
Divario superiore
By what name was Film socialisme (2010) officially released in India in English?
Rispondi