Notre musique (2004)
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Notre musique (2004)
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Notre musique (2004)
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User Rating:
6.7/10
(736 votes)
more
Director:
Jean-Luc Godard
Writer:
Jean-Luc Godard
Release Date:
19 May 2004 (France)
more
Genre:
Drama more
Plot Outline:
Divided into three "kingdoms" -- Enfer (Hell), Purgatoire (Purgatory) and Paradis (Paradise) -- Notre Musique is an indictment of modern times. more
Plot Keywords:
Hell
/
Purgatory
/
Sarajevo
/
Music
Awards:
1 win
&
3 nominations
more
User Comments:
Two or Three Things He Knows -Godard's long goodbye continues with a meditation on war and a history of the cinema
more
(Cast overview, first billed only)Sarah Adler ... Judith LernerNade Dieu ... Olga BrodskyRony Kramer ... Ramos GarciaSimon Eine ... AmbassadorJean-Christophe Bouvet ... C. MaillardGeorge Aguilar ... IndianFerlyn Brass ... HimselfLeticia Gutiérrez ... IndianAline Schulmann ... Spanish TranslatorJean-Luc Godard ... HimselfJuan Goytisolo ... HimselfMahmoud Darwich ... HimselfJean-Paul Curnier ... HimselfPierre Bergounioux ... HimselfGilles Pecqueux ... Himselfmore
Also Known As:Our Music (literal English title)
more
Runtime:
80 min/ Argentina:80 min (Mar del Plata Film Festival)
Country:
France / Switzerland
Language:
French / Arabic / English / Hebrew / Serbo-Croatian / Spanish
Color:
Color
Aspect Ratio:
1.37 : 1 more
Sound Mix:
Dolby
Certification:
Switzerland:16 (canton of Zurich) / Singapore:PG/ Portugal:M/16/ Brazil:12/ Switzerland:10 (canton of Geneva) / Switzerland:10 (canton of Vaud) / UK:12A/ Argentina:13/ Sweden:7
Filming Locations:
Bosnia-Herzegovina
MOVIEmeter:
8% since last week
why?
Company:
Avventura Films
more
Quotes:
Olga Brodsky:
If you can understand what I'm saying, you're not paying attention.
more
Movie Connections:
Features Zulu (1964)
more
This FAQ is empty. Add the first question.
(Comment on this title)
1 out of 1 people found the following comment useful:-
Two or Three Things He Knows -Godard's long goodbye continues with a meditation on war and a history of the cinema, 11 February 2007
Author:
apwbd154 from United States
Notre Musique is the latest, but scarcely the least, of Jean-Luc
Godard's elegies for 20th-century Europe, the cinema, and himself.
Olympian in its detachment, the movie is heartfelt in a desire to
acknowledge the Other—as its guardian angel.Unlike Godard's last film, In Praise of Love, Notre Musique searches,
if not for cosmic harmony, then for some sort of secular redemption.
Has our irascible JLG been reconciled? The 73-year-old director's
serene meditation on Europe's landscape after battle has an unusually
obvious triptych structure, with each panel (or act) named for one of
Dante's three "kingdoms." The central, hour-long "Purgatory" of a
writers' conference in Sarajevo bridges the opening 10-minute "Hell"
and a concluding 10-minute "Heaven." "Hell" is a sensationally edited
found-footage montage that yokes together clips from newsreels and all
manner of movies (Alexander Nevsky, Fort Apache, and Kiss Me Deadly).
Are these images real? Drawing on the video layering techniques
developed in his magisterial Histoire(s) du Cinéma, this distressed,
bleeding assemblage is something like Godard's bid for a Guernica—a
visceral and formally brilliant evocation of total war.As in Dante, Hell is a tough act to follow. "Reporters always visit the
hells, and tourists the paradises! One seldom goes to purgatory,"
Godard told. But Sarajevo is a former hell that attracts a particular
kind of tourist. JLG appears as his rumpled self to give a talk at a
French-sponsored literary conference; other participants include
Spanish novelist Juan Goytisolo, Palestinian poet Mahmoud Darwish, and
a fictional Israeli journalist (Sarah Adler) carrying a copy of
Levinas's Entre Nous. Like him, she's concerned with building bridges.
So is Godard, although his mainly have to do with metaphor and montage.Despite the absence of Bosnian-speaking subjects, Notre Musique takes
as its ruling metaphor Mostar's Stari Most, the stone bridge that
outlived the Ottomans and withstood two world wars until it was
pulverized by Croatian artillery in 1993. But Bosnia mostly serves as a
backdrop for the conflict between Israelis and Palestinians, or Jews
and themselves. Godard's translator, the son of a Jewish-Egyptian
Communist, has come to Sarajevo to meet his Israeli niece Olga (Nade
Dieu). Not only named for but sounding like a 19th-century Russian
heroine, she tells him (in French) that she's contemplating a form of
suicide to protest the Israeli occupation of Gaza and the West Bank.The heart of the movie is Godard's lecture (a disquisition on the
ethics of montage) and its failure: Hilariously uncertain that he has
made his point regarding the (mis-)recognition of the Other, he
orchestrates a pan across his expressionless audience. Olga, offscreen,
asks how DV mini-cameras might affect the future of cinema. Godard
stares impassively for a long minute. The oracle is speechless,
although Notre Musique, it should be noted, is shot largely in 35mm and
characterized by an austere, Calvinist beauty. The colors are saturated
and the contrast pronounced, with figures typically silhouetted against
a bright background. The editing is dense. A second viewing shows Olga
repeatedly glimpsed on the streets of Sarajevo.However madly aphoristic, filled with close-ups, and populated by
serious young women, this is one of Godard's more documentary films;
given his programmatic perversity, he keeps stressing the importance of
fiction, fable, and icon. The haunting final movement takes
self-martyred Olga to a paradise that, despite the presence of U.S.
Marines, strongly resembles the same Swiss landscape where Godard shot
his last meditation on the Balkan wars, For Ever Mozart.Too touchy-feely for some hardcore Godardians, Notre Musique is the
most lucid of the master's recent films. More gnarly Godard may be
found in Moments Choisis des Histoire(s) du Cinéma. An 85-minute
distillation of his fin de siècle magnum opus, the five-hour,
eight-part video Histoire(s) du Cinéma, the heavily encoded Moments is
another installation in Godard's long goodbye. The artist merges film
and video as well as painting and cinema. Earnest stars rush the camera
amid a flickering thaumascope effect. Moments might be an Oscar-night
clip-fest doc transmitted from an unknown galaxy.Not half a dozen men
have ever been able to keep the whole equation of pictures in their
heads. Godard is one of them.
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