Reseñas (1)
The embodied memory of the unseen, which we can only see through an image that definitively hides it from our sight: the heavy life of a post-cinematic filmmaker, whose nostalgia for the film image continues to haunt him, a silent reminiscence of the real image of the world captured in the film, only as a trace on Veronica's veil, and which itself must give way to a new medium - video. Capturing the linguistic silence of the image that the director has dreamed up in his inner mental projector is as impossible as the factory owner's attempt to control the result and process of production if a living person should appear in it: the freedom of the worker of the machine and the worker of the image always disappoints the master's original project, who, following Hegel's example, finds himself on the second track in relation to the product in which the presumed theft has already been objectified... hence the freedom of the image from any closure of meaning, Godard's comical gestural pantomime supplementing and futilely contradicting the semiotic impotence after establishing the image in the word instead of movement, which is the movement of the nonsense of the world itself. The grotesque visual and ideological solidarity between the always self-reflective director and the fictional and real factory owner not only demonstrates Godard's tireless effort to simultaneously grasp the position of expression in the creation of film narrative, but also reveals the importance of "Passion" in the transition from a period when the cinematic foundation lay in the material and political search for a non-capitalist possibility, to a new and still de facto final period, when the cinematic foundation lies in the constantly reproduced fascination with the always elusive materiality of the image. It cannot be tamed even by the more fluid video, because even in infinitely multiplied interweaving of video, something will always escape...
()