The Image Book | |
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Directed by | Jean-Luc Godard |
Written by | Jean-Luc Godard |
Produced by | in association with George schoucair |
Cinematography | Fabrice Aragno |
Edited by | Jean-Luc Godard Fabrice Aragno Jean-Paul Battaggia Nicole Brenez |
Production companies | Casa Azul Films Ecran Noir Productions In association with Hamidreza Pejman George Schoucair |
Distributed by | Wild Bunch |
Release date |
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Running time | 85 minutes |
Countries | Switzerland France |
The Image Book (French : Le Livre d'image) is a 2018 Swiss avant-garde essay film directed by Jean-Luc Godard. Initially titled Tentative de bleu and Image et parole, [1] in December 2016 Wild Bunch co-chief Vincent Maraval stated that Godard had been shooting the film for almost two years "in various Arab countries, including Tunisia" and that it is an examination of the modern Arabic world. [2] Godard told Séance magazine that he was shooting without actors but the film would have a storyteller. [3] It was selected to compete for the Palme d'Or at the 2018 Cannes Film Festival. [4] [5] [6] The film was positively received by film critics. It was the final feature film directed by Godard before his death in 2022.
In line with the rest of Godard's late-period oeuvre, The Image Book is composed of a series of films, paintings and pieces of music tied together with narration and additional original footage by Godard and Anne-Marie Miéville. Similar to his earlier series Histoire(s) du cinéma (and sometimes using some of the exact same film quotes), the film examines the history of cinema and its inability to recognise the atrocities of the 20th and 21st centuries (specifically the Holocaust, ISIS and the Israeli–Palestinian conflict), the responsibilities of the filmmaker and the advances in political discourse with the introduction of consumer-grade digital cameras and iPhones.
The Image Book premiered on 11 May 2018 at the Cannes Film Festival. [7] Although it did not win the official prize, the jury awarded it the first "Special Palme d'Or" in the festival's history. [8] According to Godard, the film is intended to be shown on TV screens with speakers at a distance, in small spaces rather than in regular cinemas. [9] It was shown in this way during its first run at the Théâtre Vidy-Lausanne in November 2018. [10]
The film was released on Blu-ray by Kino Lorber in the United States on May 21, 2019. [11]
The film has a 90% approval rating on Rotten Tomatoes, based on 88 reviews, with an average rating of 7.6/10. The critics' consensus on it being stated as, "Potentially insurmountable for viewers not attuned to the director's wavelength, The Image Book is typically confounding - and ultimately rewarding - late-period Godard." [12] It also holds a 76/100 on Metacritic. [13] It was named the best film of 2019 by Cahiers du cinéma .
Richard Brody of The New Yorker gave high praise to the film, seeing it as "a sort of epilogue or sequel" to Godard's earlier work Histoire(s) du cinéma , and stated that the film centers around one theme: "the inadequate depiction of what he calls 'the Arab world' and, in particular, the dearth of iconic movie images from the Middle East—which he presents as a failure of the cinema itself, as well as of the world at large." [14] For Bilge Ebiri, film critic for The Village Voice , the film was engaging in its editing of footage taken from varying sources, but Ebiri also shared an initial bafflement toward the film and the meaning of its chosen imagery until he conversed with Egyptian critic Joseph Fahim; Fahim shared to Ebiri that with the film's informed use of images from Middle Eastern cinema, Godard was attempting to deconstruct the Western narrative given to Arab societies and the Western influence on how cinema's history is recorded. Fahim added that "The images introduced by Godard in here are unknown to most Western critics who waxed poetic about the film." [15]
On the other hand, Todd McCarthy of The Hollywood Reporter gave it a negative review stating that: [16]
"As with his previous idiosyncratic, often inscrutable late works, this will be seen only by a highly select audience of dedicated Godardians, and genuinely liked by just a fraction of those; one can essentially name them."
David Sexton of The London Evening Standard called it "a magic lantern show gone wrong". [17]
Jean-Luc Godard was a French and Swiss film director, screenwriter, and film critic. He rose to prominence as a pioneer of the French New Wave film movement of the 1960s, alongside such filmmakers as François Truffaut, Agnès Varda, Éric Rohmer and Jacques Demy. He was arguably the most influential French filmmaker of the post-war era. According to AllMovie, his work "revolutionized the motion picture form" through its experimentation with narrative, continuity, sound, and camerawork.
Jean-Pierre Léaud, ComM is a French actor best known for being an important figure of the French New Wave and his portrayal of Antoine Doinel in a series of films by François Truffaut, beginning with The 400 Blows (1959). He has worked with Jean-Luc Godard, Agnès Varda, and Jacques Rivette, as well as other notable directors such as Jean Cocteau, Pier Paolo Pasolini, Bernardo Bertolucci, Catherine Breillat, Jerzy Skolimowski, and Aki Kaurismäki.
The Palme d'Or is the highest prize awarded to the director of the Best Feature Film of the Official Competition at the Cannes Film Festival. It was introduced in 1955 by the festival's organizing committee. Previously, from 1939 to 1954, the festival's highest prize was the Grand Prix du Festival International du Film. In 1964, the Palme d'Or was replaced again by the Grand Prix, before being reintroduced in 1975.
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The Grand Prix is an award of the Cannes Film Festival bestowed by the jury of the festival on one of the competing feature films. It is the second-most prestigious prize of the festival after the Palme d'Or.
Histoire(s) du cinéma is an eight-part video project begun by Jean-Luc Godard in the late 1980s and completed in 1998. The longest, at 266 minutes, and one of the most complex of Godard's films, Histoire(s) du cinéma is an examination of the history of the concept of cinema and how it relates to the 20th century; in this sense, it can also be considered a critique of the 20th century and how it perceives itself. The project is widely considered Godard's magnum opus.
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Goodbye to Language is a 2014 French-Swiss narrative essay film written and directed by Jean-Luc Godard. It stars Héloïse Godet, Kamel Abdeli, Richard Chevallier, Zoé Bruneau, Jessica Erickson and Christian Grégori and was shot by cinematographer Fabrice Aragno. It is Godard's 42nd feature film and 121st film or video project. In the French-speaking parts of Switzerland where it was shot, the word "adieu" can mean both goodbye and hello. The film depicts a couple having an affair. The woman's husband discovers the affair and the lover is killed. Two pairs of actors portray the couple and their actions repeat and mirror one another. Godard's own dog Roxy Miéville has a prominent role in the film and won a prize at the Cannes Film Festival. Like many of Godard's films, it includes numerous quotes and references to previous artistic, philosophical and scientific works, most prominently those of Jacques Ellul, Aleksandr Solzhenitsyn and Mary Shelley.
The 67th Cannes Film Festival took place from 14 to 25 May 2014. New Zealand filmmaker Jane Campion was the head of the jury for the main competition. French actor Lambert Wilson hosted the opening and closing ceremonies. Turkish filmmaker Nuri Bilge Ceylan won the Palme d'Or, the festival's top prize, for the drama film Winter Sleep.
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The 71st annual Cannes Film Festival took place from 8 to 19 May 2018. Australian actress Cate Blanchett served as jury president for the main competition. Japanese filmmaker Hirokazu Kore-eda won the Palme d'Or, the festival's top prize, for his drama film Shoplifters, marking Japan first win after more than twenty years.
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