Criminals Against Decoration: Modernism as a Heist, Claustrophobia and Intimacy in Alex Ross Perry’s, Thresholds of Work and Non-Work in Tulapop Saenjaroen’s, Dreaming of the Mountains: The 9th Dharamshala International Film Festival, Queer and Australian Features at the 2020 Adelaide Film Festival, Korean Cinema’s Self-Portrait: The 25th Busan International Film Festival, Live Through This: The 2020 Adelaide Film Festival, “Sense of Place”: The 33rd Tokyo International Film Festival, “Memories Are Made of This”: Juliane Lorenz and Lothar Schirmer’s, Stairways to Paradise: Youssef Chahine and, Waiting for Rain: Oppression and Resistance in Youssef Chahine’s. Following a heavily canted “establishing shot” of the housing-complex environment comes a composition pinning Juliette’s head at the far bottom centre of the widescreen frame, in her grey-blue coat graphically flattened against the similarly coloured surrounding apartments (perhaps including her own). Nevertheless, this stuttering performance delivered by our onscreen figure (though she is perhaps not coincidentally out of shot during most of the scene, the pan dominated by architecture) is arguably more convincing and far less potentially romantic. The narrative is a weaker version of Vivre Sa Vie . 2015 Des 26 - TWO OR THREE THINGS I KNOW ABOUT HER - Japanese Poster by Masakatsu Be warned. More than this, it is also about his lingering belief but increasing doubt in the film medium’s ability to tell us something about all of this. 2 or 3 Things I Know About Her is perhaps Godard’s most revelatory look at consumer culture, shot in ravishing widescreen color by Raoul Coutard. Free delivery for many products! 2 or 3 Things I Know About Her movie full movie 123. Original title: 2 ou 3 choses que je sais d'elle. Two or Three Things I Know About Her is a movie that perpetually feels like it’s in contrast with itself. Here, amongst other things, Two or Three Things presents the “impossible” position of female subjectivity in this mid-’60s consumerist reality, while at the same time the highly attractive aspects of such a world are just as palpable. But more than this being by far the most directly self-reflexive film in Godard’s already extremely self-conscious and authorially over-determined oeuvre, and while the author’s presence is so strongly felt on the soundtrack, he cannot enter the image-world shown and exemplified by his film. Only the clothes kept me interested. Although by whispering Godard slightly masks both his voice and gender, we have likely guessed the film’s narrator is its male director. In 1967, Jean-Luc Godard released two very original pieces that explore similar themes with diverse results. It’s aware that it’s got a duty to show particular things for the sake of narrative cohesion, but instead, it chooses to participate in a celebration of the ideas that are an extension of them. More fundamentally, the film presents and indeed constitutes reality in its exponentially image-saturated and properly modern form, every frame quivering with strange new life in all its plastic beauty and devastation. Money, sex, fashion, the city, love, language, war: in a word, everything. At times this is certainly a wordy film, and much – although by no means all – of its analysis comes in the form of monologues and voiceovers. Livraison gratuite dès 25 € d'achats. As is so expertly demonstrated in Lars von Trier and Jørgen Leth’s De fem benspænd (The Five Obstructions, 2003), freedom may not in fact be the wellspring of creativity and purpose. But that he is still capable of existing in the margins on the soundtrack, and in this famous scene seduce and deceive us by affecting a temporary coming-to-life through sheer force of oration, is testimony both to Godard’s lingering idealism and hope, but also his sporadic romanticism. Both when it comes to images, which here survive substantively – indeed at the expense of seemingly everything else – and words, which while used extensively are also almost immediately doubted (one of the consistent refrains mouthed by Juliette/Godard is the inability to put things into words), the film is thereby ultimately quite different from the more politically radical cinema to come, even as it remains a key influence on such work. If Godard wanted to essay modern life at its most cutting-edge site, following two decades of Western governments’ eroding post-war idealism and promises, then this was the place. Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. That may be the message, or maybe not; Godard is as relaxed in the film as in the title. Délka: 100 minut Premiéra: 17. 2 or 3 Things I Know About Her ... As the city of Paris and the French people grow in consumer culture, a housewife living in a high-rise apartment with her husband and two children takes to prostitution to help pay the bills. Yet its extreme reflexivity means that it is not reallyabout these people or their world, the wordy but importantly also rather ambiguous title notwithstanding. Jakmile se objeví, hned ho najdeme a zařadíme! Her eyes glittered as bright as sun reflecting off the scales of a cottonmouth's back. However, the lingering depth and poetry of Godard’s lines is now impossible; instead we get fragmentation, hesitation, and lacunae. Yet we are also reminded more than usual via some especially violent references – both regarding the dangers of life as a prostitute on the streets but also the more apocalyptic violence committed by the US Army in Vietnam – that the increasingly global media-saturated world, here fully operative in traditional Paris cafés via seemingly ubiquitous glossy magazines and fashion, are also spaces of flattening assault when it comes to subjectivity itself and any lingering notions of identity that predate or transcend the glittering world of images. Yet on the other, through what turns into a slow 360-degree pan showing the seemingly endless high-rise landscape, Juliette is even more fully integrated into her very own world in a way that almost mocks Godard’s abject failure to even enter the film’s spaces. Yet what often gets purposely downplayed in such films in favour of linguistic analysis and “ideology critique” is precisely what remains so powerful in Two or Three Things for all its fascinating and disturbing power: the image itself. That was how it started out; by the time he'd finished it, Godard had succeeded as usual in turning out a film that was essentially a documentary of his state of mind. "Only two or three things. As the principal strength of the French New Wave, Godard created a masterpiece that comes across as revolutionary and modernist over thirty years subsequent to its conception. Jean-Luc Godard's "Two or Three Things I Know About Her," started out, he tells us, as a sort of remake of "The Big Sleep" (1946) with Marina Vlady playing the Humphrey Bogart role. Translation memories are created by human, but computer aligned, which might cause mistakes. Find trailers, reviews, synopsis, awards and cast information for Two or Three Things I Know About Her (1966) - Raoul Coutard, Jean-Luc Godard on AllMovie - The feminine pronoun in the title of this film… Livraison gratuite (voir cond.). Two or Three Things I Know About Her Directed byJean-Luc Godard … For this viewer, it is a film to watch and rewatch many times, enjoying the test of ideas. They come from many sources and are not checked. Two or Three Things I Know About Her is a film directed by Jean-Luc Godard with Joseph Gehrard, Marina Vlady, Anny Duperey, Roger Montsoret, Raoul Lévy .... Year: 1967. As with the other two, it is considered both socially and stylistically radical. Inevitably beautiful, his films’ female characters also frequently come across as almost brainlessly conformist victims of fashion, commercialism and ideology, while the men are usually more rational, critical and political. A better analogy than the symphony conductor, perhaps, would be the childhood trick of rubbing your stomach, patting your head and chewing gum at the same time. Livraison gratuite (voir cond.). That we never see any evidence of the filmmaker having actually set foot in the banlieue – which in any vaguely documentary film would be expected as an ethically necessary starting point– is notable. WikiMatrix de 1967 spielte sie die Hauptrolle in Jean-Luc Godards Zwei oder drei Dinge , die ich von ihr weiß (2 ou 3 choses que je sais d'elle ). What's really so great about survival, anyway, in a world of concrete and advertisements, where the human nature seems unnatural? Hrají: Anny Duperey Režie: Jean-Luc Godard. In the scope of Godard’s narratives, Two or Three Things I Know About Her… lacks the punch of his other films. Without either of these twin rails, Two or Three Things – in many ways alongside the less political and more romantically-tinged Vivre sa vie (1962), which in addition to also treating the theme of prostitution likewisesuppresses genre and the primacy of narrative with “documentary” techniques and qualities – contains arguably the most inquisitive, open, genuinely self-reflexive, philosophical, aesthetically innovative, at times lyrical and often funny cinema Godard has made. While elsewhere her words seem too “well-written” and obviously forged by Godard’s idiosyncratically philosophical and political hand, here Juliette appears in an odd, very tentative way to be possibly generating her own thoughts. Two or Three Things shows film as both guilty perpetrator and victim of the reality it essays and exemplifies. Synopsis: In this film, 'Her' refers to both Paris, the character of Juliette Janson and the actress playing her, Marina Vlady. While much of Godard’s later cinema plumbs the Western world’s abyss of history, politics and the human more directly and with greater gravity, in films such as Éloge de l’amour (In Praise of Love, 2001), Notre musique (2004), and in a more overtly cinema-themed way with the Histoire(s) du cinéma (1988-98) video series, such works’ prevailing tone of autumnal mourning also evokes a sense of meaningfulness and grandeur (even sometimes of spirituality). This is played out in regards to thematic treatment – now including an important but still developing leftist commitment, with a notable increase in critical commentary about the USA’s global power, particularly its atrocities in Vietnam – but also a “limit-point” reflexive commentary on both Godard’s own filmmaking, as coloured by a kind of artistic-existential crisis, and on cinema’s particular role within the new mass media “reality”, which the film essays through a ruthless yet deeply fascinated lens. Click here to make a donation. Two or Three Things I Know About Her is a skillfully composed visual essay. The greatest film by the greatest post-1950s filmmaker, Jean-Luc Godard’s 2 or 3 Things I Know About Her presents the critic, humbled by the beauty of its surfaces, the density of its ideas, and the uncanny coherence of its fragmented structure, with a writing dilemma. The ads are all American, or American-inspired, and in the same essay Godard says: "In the modern world, the advertising element reigns supreme, determining everything, paralyzing everything. Certainly judged by familiar present-day criteria, notably as applied to any film presented as a documentary – which Two or Three Things does not claim to be, even if it uses many techniques associated, in particular, with the cinéma vérité non-fiction of Jean Rouch – the film would likely be judged quite harshly or even ridiculed on ethical and political grounds. Here, amongst other things, Two or Three Things presents the “impossible” position of female subjectivity in this mid-’60s consumerist reality, while at the same time the highly attractive aspects of such a world are just as palpable. Find many great new & used options and get the best deals for Two Or Three Things I Know About Her (DVD, 2005) at the best online prices at eBay! With Marina Vlady, Anny Duperey, Roger Montsoret, Raoul Lévy. It also establishes Godard as being more than just a filmmaker. In _2 or 3 Things I Know About Her_ (_2 ou 3 choses que je sais d’elle_), Jean-Luc Godard beckons us ever closer, whispering in our ears as narrator. Nevertheless, arguably more than in Godard’s other work prior to La Chinoise (the film where this political-gender binary starts to break down), because the people onscreen are not remotely believable as real or individuated, we must look at these bodies as representative of gendered types hardly irrelevant to the socio-economic and ideological dictates of the time. As if a musician were to conduct two orchestras at once, each playing a different symphony.". In both Vivre sa vie and Two or Three Things this latter point is what really interests Godard (even if the former goes to much more effort in informing us about the daily experience of prostitution through citing various statistics): in a reality such as this we all “prostitute” ourselves, be it to work, family, school, state, church, corporation, consumer product, or sexual or romantic partner. So boring. 2 or 3 Things I Know About Her. The result is anything but a convincing or conventionally considered “realistic” presentation. Most strikingly there is the iconic, incrementally close shots of swirling black coffee over which the filmmaker delivers his longest and most philosophical monologue from within the now familiar and here increasingly visible void. The greatest film by the greatest post-1950s filmmaker, Jean-Luc Godard’s 2 or 3 Things I Know About Her presents the critic, humbled by the beauty of its surfaces, the density of its ideas, and the uncanny coherence of its fragmented structure, with a writing dilemma. Godard’s ground-breaking reflexivity, as it appears in this film, has important implications not only for his own cinema but also the increasingly radical filmmaking of the next ten or so years that David Rodowick influentially termed “political modernism” (5) (elsewhere referred to as counter-cinema, in which leftist politics and auto-critique are considered essential dual starting points for any properly radical work). While the importance of Godard’s formal innovations for 1970s feminist cinema is well acknowledged, he remains one of the least obviously “progressive” filmmakers of the 1960s when it comes to gender politics per se (even with the bar being already low). That's particularly difficult in this case, Godard observes, because he doesn't work from a screenplay but improvises as he goes along. She spat once and shrugged. girl, there's only two or three things I know for sure." Free shipping for many products! Hodinka. The city is Paris and our narrator (our director Jean-Luc Godard) is about to tell us of the two or three things he knows about her, mainly the manner in which it is being developed which he is not too happy about. Philip French. Two or Three Things I Know About Her is a 1967 French New Wave film directed by Jean-Luc Godard, one of three features he completed that year. Two or Three Things I Know About Her is a movie depicting life in Paris and the main character, Juliette. Ivone Margulies points out that this film is a crucial precursor to Chantal Akerman’s feminist and formalist classic Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) (8), for both presenting prostitution as a sociologically real phenomenon for some women who need a bit of extra money to sustain what they perceive isan acceptable class and consumer status, and perhaps even more importantly as a metaphor for life within an ever-quickening and ruthless – and still resolutely gendered – capitalist reality. Perhaps even more than this, again fully in keeping with Godard’s crucial role for a figure like Akerman (who says she was inspired to become a filmmaker after seeing Pierrot le fou [(9)]) while being seemingly at odds with the apparent assumptions about gender in many of his films, Two or Three Things essays with some clarity the enormous forces that conspired to seduce women at the time both into being exemplary consumers – even as this risked breaking down their ahistorical roles as wives and mothers (here through the figure of prostitution as fuelled by consumer desire) – but also thereby often to living within a cutting-edge liminal zone defined by the increasing destruction of “reality” in favour of the virtual world of images. As both a subject and author, this most recognisably “human” entity offered by the film cannot survive its ontological violence whereby even more than ever in Godard’s cinema the people onscreen are reduced to the status of objects by the force of the image, the camera definitively flattening any potential for subjective resonance, performance or character. On the surface, Two or Three Things is little different. – over shots of Juliette and her husband going to bed, a giant cigarette at the moment of inhalation (another “magical” image of a consumer item), and then, finally, a wonderful arrangement of domestic cleaning products laid out on the grass like amateur installation art – does not result in the restoration of subjectivity and authorship. However, between such images of coffee/outer space/the abyss, and much less commented on by critics, are intercut shots of the barman making coffee accompanied by the distorted noise of an aesthetically unremarkable café – a hard reality that, rudely and repeatedly interrupting the increasingly mystical and decontextualised ruminations of the philosopher-author, assaults his propositions with the brute force of earthly material life in the land of endless consumption. Alternately, one pithy paragraph might do the trick. Amazon.fr - Achetez Two Or Three Things I Know About Her. Michelle Carey • Daniel Fairfax • Fiona Villella • César Albarrán-Torres. Following the less fully developed but very innovative and frequently brilliant Une Femme mariée (A Married Woman, 1964), here is the first fully-formed Godardian “essay film”. A day in the life of a Parisian housewife/prostitute, interspersed with musings on the Vietnam War and other contemporary issues. Directed by Jean-Luc Godard • 1967 • France Starring Marina Vlady, Anny Duperey, Joseph Gerhard In 2 OR 3 THINGS I KNOW ABOUT HER (2 OU 3 CHOSES QUE JE SAIS D’ELLE), Jean-Luc Godard beckons us ever closer, whispering in our ears as narrator. Two or Three Things I Know About Her ( 2 ou 3 choses que je sais d'elle ) ( Deux ou trois choses que je sais d'elle ): Anny Duperey, Yves Beneyton, Jean-Luc Godard, Joseph Gehrard, Marina Vlady, Roger Montsoret, Raoul L騅y, Jean Narboni, Juliet Berto, Helena Bielicic, Jean-Luc Godard: Amazon.com.au: Movies & TV Shows 3. Some have posited that it is his coffee into which the camera stares in the film’s famous centrepiece, the soundtrack literally recording his interior and solipsistic philosophising on the spot.
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