Adiós al lenguaje

Well nothing. But really nothing at all. I watched it, different scenes, different cameras it was filmed with, which affected the picture, the nonsense with which it tried to convey something. And the film "Goodbye Language" didn't convey anything to me at all. It was a bit like Lynch in his recent years, with an attempt to have at least a basic story. (22.06.2016)

Godard as a postmodern Master of Film deconstruction, both the deconstruction of image meanings and words. That is, what shapes human reality if it were not actually a constructed fiction? Or, as stated in the introduction, a person escapes from fantasy into reality (whose basis can only be fantasy), from Nature into Metaphor (the names of the two chapters of this film). This is another Godard film to prove to us that our phantasmic reality consists only of randomly assembled fragments of images, sounds, and sentences, whose meaning becomes perfectly empty and incomprehensible when taken out of their established context - until we put them together into a new unity. Even though that will only be a reflection of our inner consciousness, moving in metaphors, concepts, and abstract meanings that separate us from the real world. However, the dog does not suffer from this, as Rilke already knew, and therefore man can discover the lost Nature/reality through the perspective of an animal, the only perspective from which man can observe the external world and not just his internal, conscious world (the world of fragments of words and sentences, fragments of films and books). All you need to do is follow the basic pairs: love and death, suffering and that world. And especially Godard's dog. /// Jean-Luc Godard again follows the trail of the point at which every totalization shatters, the point where infinity opens up - whether it is the infinity of possible paths of society, the past, and the future, images (...) - and with it, freedom. /// Otherwise, at 84 years old, Jean-Luc Godard has more ideas with form than any Hollywood "god." Examples of this include demonstrating 3D by allowing a dialogue between people sitting behind each other (who would normally overlap in 2D) or by splitting the image and then allowing it to merge again (creating another alienation effect, which he has been exploring since the beginnings of his work). /// I saw the film in both 3D and 2D in the movie theater - definitely seek out the 3D version because, without it, one of the three Godards is simply missing from the screen. (09.10.2014)