Back. Return return. Long absence.
Unrestful battle to the death with corporate finance.
And Jeannot mentions Georges. Beauregard?
Yes, almost certainly.
And so politics becomes sex. But sex remains politics. The two phenomena simultaneously.
Like dependent events and statistical fluctuations.
Not the fun stuff of batting averages. No, we mean correlations and covariance and stultifying minutiae.
And that’s where the money comes from.
Godard after 45 years had finally finished with Paris. Done. Fin.
Il y a equals = Grenoble?
A new era with Anne-Marie Miéville. Sonimage. Mon ton son image son.
Wordplay cures illnesses.
The glissando of sliding meaning.
I want to write film criticism as if I am writing a viola sonata. Everything is possible.
Amazingly…amazingly…Wikipedia gives a synopsis.
Thank you kind soul…kind, fastidious soul.
Is it the same in France? Numero deux est la merde?
Yes, Godard finds a way to shock…again. Like Salò, but in a mundane grocery store of quotidian pain.
Wordplay and illnesses.
Is it Sandrine Battistella?
Is it Pierre Oudrey?
Are the child actors the best players in this film (in the tradition of Bresson)?
And Alexandre Rignault. The old man? I am too lazy. It is already a service. Mon beau souci.
The anarchy of breasts.
Both enjoy in different ways.
Pain is not simple.
It was this point at which Godard became a true revolutionary. With his army surplus jacket. Inconsequential.
Having survived the revolution. The upheaval. To live on into the era of Bruce Lee kicking Chuck Norris’ ass.
We see briefly.
But mainly we see fatigue. The fatigue of Beethoven. Facile technician. Adjusting color timing instinctively. Habit.
Sometime you must take a break from James Bond to question the fundamental things.
White people problems, they say.
No, I see the same in true cultures…in China…in Africa.
Unique modes of expression. Unlearning.
The greatest service is to convey the feelings of the film. If these feelings harmonize with the dissonance of your pathetique lives, then you are like me. Searching for small miracles.
Actors cannot touch non-actors. Praise be to actors who appear to have no technique–who appear to be non-actors.
Either way. Doesn’t matter. Matters.