Majorthebys Charming and brutal

PiraBit if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

Janae Milner Easily the biggest piece of Right wing non sense propaganda I ever saw.

Kinley This movie feels like it was made purely to piss off people who want good shows

chaos-rampant I number the reviews of my Godard quest so as to provide a sense of continuity and progression, what came before and after. I will likely rest here and leave Film Socialisme for some other time. It's obvious from these last few films that he has said his piece, some ten years before.Nonetheless, in his mode as essayist of cinema he is the most rewarding Godard. He goes where Chris Marker went, but is more lyrical, hoping to evoke what he yearns to transcend. Mortality, love, injustice, he ruminates on these as he did before. He divides his disseminations as three kingdoms.Among the footage of war and atrocity that make up Hell I spotted Eisenstein, from the film he left unfinished in Mexico for Paramount. Which makes me ask what else is staged and illusionary in this, though in the grand scheme it doesn't matter and that is perhaps the point. Filmed from life or for the cinema, these images elicit the same outrage. Our imagination of violence blends well with the reality of it. This segment also shows that Godard is incomparable as editor. Apart from political signifiers, these images I enjoy for the contours of their gratuitous shape, for how they swirl in and out of each other.Purgatory shows us souls in transit, trapped in the dilemmas of existence we know all too well. Aching for meaning or lamenting the absence of it, we see here a tapestry of internal anxiety. Images of roads elucidate our passing through the world, mundane but quietly magical if seen with the right eyes. In this segment he refurbishes an insight from the Histoire(s) project. How we are drawn to the light of the imaginary, in order to cast it in the dark of reality that surrounds us. He also tells us what Kazantzakis had said fifty years ago, that we are truly free of our bonds when we neither hope nor fear. That life is, while death isn't. But he also crams this part with more political discourse, trite by now.This is all well, some of it stale, some of it exceptional. But how to portray Heaven, what does Godard envision the other world to be? This is what intrigued me as I was watching the film.Nature, this is where Godard goes to reflect again, as he did before. Not so curiously, in his Heaven are only young people, one of them reading a book, others playing in the shade. Tres banal or simply tres Godard? The image that closes this is rather poignant though. It's a beautiful, clear day, and the woman is looking out at sea. She can see far but not from where she came.

Robert Bloom Jean-Luc Godard's quasi-update of Dante's Divine Comedy set to the modern world. The first segment of the film is hell and it only runs at about 10 minutes. In it, Godard has cobbled together a devastating montage of scenes of human destruction from the holocaust, Vietnam, the American Civil War, and other scenes of warfare and destruction, all compiled from documentary and movie footage. It's an impressive sequence as he overlaps the scenes of horror over the sounds of a melodic piano score. Then the film moves into limbo, the section usually regarded as the least interesting of Dante's cantos. Godard spends the bulk of his time on this section. In it, a French Jewish journalist attends a literary conference and meets Godard as himself and meets the Palestinian poet Mohmoud Darwish and discuss the Israeli-Palestinian conflict. She travels to Sarejevo and witnesses the aftermath of Serbian destruction (a topic which Godard is clearly haunted with), and includes some direct views on cinema from Godard himself. The final section is in paradise. It features perplexing images with the protagonist in a beautiful forest guarded by American soldiers. Notre Musique is about the state of the world at the beginning of the 21st century. It is a powerful and esoteric rumination of the art and history of the past, and a foreboding insight into what the future may look like. The film includes a wonderful piano score from Sibelius and Tchaikovsky and beautiful color photography from Julien Hirsh. The film was shot in 1:33 aspect ratio so don't expect the DVD to appear in scope.

Claudio Carvalho "Notre Music" is a very ambitious, pretentious and hermetic Jean-Luc Godard's film, divided in three kingdoms: Hell, Purgatory and Paradise like in the Dante's Inferno in the Divine Comedy. Hell shows footages of many wars; Purgatory mixes reality and fiction in Sarajevo; and Paradise is a surrealistic view of a beach "protected" by the American Marines.I found this movie absolutely boring. It seems that Godard wants to challenge the intelligence of the viewers, since to understand his movies the viewer needs to read or listen to his interviews. I respect those who like this French director, but they have to agree that "Notre Musique" is only recommended for fans of Godard and pseudo-intellectuals (there are a lot of them…). My vote is four.Title (Brazil): "Nossa Música" ("Our Music")

Channing Johnson There are movies to help you relax on a Saturday night and there are movies that stimulate, even if that means asking questions that have no answers. I didn't understand this movie but I still felt stimulated by its questions. I tried so hard to make the connections and I had a lot of trouble. But you don't read Portrait of the Artist as a Young Man once without discussing it and expect to understand it. Nor is the more accessible Three Colors Trilogy meant to be seen only once for complete understanding. The quality of a movie is not determined by its accessibility. It's a limited understanding of the medium to judge film by its accessibility. It can be more than an easy way to relax. It can be the impetus to dialogue. I cared about this movie because I didn't understand it.