The Godard Connection

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Louis Garrel as Jean-Luc Godard in Godard Mon Amour by Michel Hazanavicius, a Cohen Media Group release.

A couple of weeks ago, I wrote a blog post about the ongoing internal debates I have about why movies matter, why I write about film, why I make films, etc., etc. Just a few days after writing that post I was offered a screener of the new film by Michel Hazanavicius, Godard Mon Amour (a.k.a. Redoubtable). The film is based on the 2015 book Un an Après  Anne Wiazemsky wrote about her love affair with and subsequent marriage to one of France’s most famous directors and general provocateurs, Jean-Luc Godard. Their relationship came about in the late 1960s, and the focus of the film is the political upheaval in Paris in May of 1968, leading to the cancellation of the prestigious Cannes Film Festival in response to student and worker protests in Paris. It struck me as incredibly serendipitous for me to come across this film at this particular moment, as what emerges through the story is a Godard undergoing a reevaluation of his life, his work, and the meaning (or lack thereof) inherent in making, talking about, writing about, and seeing films.

The film begins with a huge title saying “Wolfgang Amadeus Godard,” cluing us into the geni

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The real Jean-Luc Godard

us of Godard in a tongue-in-cheek manner. Louis Garrel (son of French New Wave director Philip Garrel) plays Godard as arrogant, self-centered, and rather obnoxious, but at the same time he reveals a deeply committed artist who, like the rest of us, is uncertain about his relevance in the world, vulnerable, and awkward. As he walks in solidarity with student protestors vastly younger than him, he is supportive of them politically and philosophically, but at the same time reluctant to pass the torch. His relationship with Anne (Stacy Martin) is passionate, but at the same time Godard doesn’t really see her for who she is. It is in this context that Godard goes to Cannes at his wife’s urging, although he feels it is ridiculous to go to a film festival when there is violence in the streets, and a revolution is in the making. He goes, but along with several notable directors, shuts down screenings and convinces the jury to officially end the festival several days earlier than planned in the name of solidarity with protestors and, in a sense, an acknowledgement that the festivities do not align with the important debates and issues going on in contemporary French culture.

Hazanavicious, whom I interviewed for Cineaste several years ago in regard to his modern-day silent film The Artist, has a knack for bringing cinematic history to life using a clever interplay between form and subject matter. In The Artist, he told the story of silent actors on the cusp of obsolescence as the Sound Era arrives, and he did so in a silent (except for one part) black-and-white movie. With Godard Mon Amour, again Hazanavicius connects story and cinematic form by creating a movie about Godard that follows the  style, idiosyncrasies, and self-referential nature of Godard’s own best known films from that period. For example, in a scene in which Godard and Anne  discuss whether or not the nudity in a script she’s reading is justified or simply gratuitous, the two walk around stark naked. It is this kind of self-reflexivity in Godard’s films that really made his work so uniquely “a Godard film.”

Godard Mon Amour feels particularly relevant now in this country even as it is about something that happened 50 years ago on another continent. As we see our own, albeit less dominating, student revolt and watch the astounding responses to it, any thinking artist is wondering about the role of art and cinema in divisive times. With every day bringing forth another horror from somewhere around the globe, another reason to question our work and our futures, Jean-Luc Godard’s concerns have never seemed more relatable than they do here. It’s not only  his existential angst that resonates, but also the enfant-terrible arrogance invites some thought about separating great artists from their personalities and whether or not that’s possible.

But contemporary sociopolitical dialogues aside, Godard Mon Amour also succeeds in reminding us what was so endearing about Godard’s work and about the French New Wave itself. There’s humor to it. It’s not all theoretical cinephilia, even as that serves as a basis for much of his work. At the end of Godard Mon Amour I immediately yearned to watch Godard’s films again. Although I adored the last film I saw by Godard, his 3-D Goodbye to Language, it is those earlier, daring films I saw in film school that I craved most. Doing so did wonders for my cinematic soul, and I hope you’ll revisit them as well, especially Masculin Feminin, Pierrot le fou, Alphaville, and of course, Breathless.

Godard Mon Amour opens in New York and Los Angeles on Friday, April 20, and will open at the Kendall Square Theater in Cambridge, Mass., shortly thereafter.

 

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Time’s Up

I recently attended the Provincetown Women’s Media Summit and had the chance to speak with two keynote speakers, Dr. Stacy Smith and April Reign, about increasing diversity and opportunities in the film industry. The article appears in Provincetown Magazine this week. Here is the link. Check it out!

What’s the Point?…Or Something Like a Manifesto

For about a year now I’ve been struggling with my “cinephilia.” What is the point in writing about movies? What is the point in going to movies? What is the point of making movies? Wouldn’t my skills, time, and effort be better used in the service of something more directly meaningful in the world?

If you guessed that I am middle-aged, you’re correct, however I don’t think this concern is confined to my age range. You can probably recall numerous times in your life when an existential crisis stared you in the face and left you temporarily paralyzed; I know I can. And if you are, like me, someone involved with the arts—a field that I feel stronger every day has much to offer this disturbing world, but which is rarely celebrated as “important”—that questioning of your life’s purpose probably pops up more often for you than it does for those in fields more readily accepted as valuable to society.

So why write about movies? Isn’t it a medium that vacillates between meaningless Hollywood product and inaccessible, irrelevant “small films”? I don’t really have the answer, but I do know that for me at least some of the most enlightening experiences I’ve ever had have been in a dark theater entranced by someone’s vision. And on occasion, I’ve even been transfixed by such visions on the small television screen in the comfort of my living room. I’ve seen worlds I could never witness first hand. I’ve met characters that help me understand my place in the world even as (or maybe because) they do not resemble me in the slightest. When I learn about a film coming out by a director or writer that has given me this in the past, I am delirious with excitement. So often I find that the film I am anxious to see never makes it to a movie theater near me because I do not live in a city anymore. I travel hundreds of miles to film festivals to see such films so I can share them with someone either through this blog, through my work at Provincetown Magazine, or even just in private conversations and on social media. This deeply held connection I feel tells me there is something there that is worth writing about.

Why make movies? There are lots of ways to communicate with the rest of the world creatively and otherwise, but in the 25 years that I’ve been making films professionally, I have found that there is no better way to learn about aspects of life that mystify you. Whether interviewing feminist sex workers, Cold War era veterans, or Catholic nuns, spending time with an eccentric recluse, or exploring the dimensions of my grandmother’s religious faith and mental illness, each film as forever changed me and made me into who I am today.

I can’t make any promises because this is a blog I write without compensation from anyone and with very little feedback from anyone, so it is hard to sustain my motivation. However, I am going to try to continue writing here about films and filmmakers that move me. I do not want to write about films that don’t move me or that are poorly done unless they hold some mirror up to our society and show us something about ourselves that needs discussing.

There is something beautiful about the empathy films can generate.

There is something enchanting and magical—even now, in the age of the Internet —about losing yourself in someone else’s dream on the screen.

Film is not the only art to have the capacity for building empathy or for mesmerizing us, but it is an incredibly important one because of its sheer ubiquity. Cinema came about as a working-class art form and remains that way for me, even as it’s been elevated in academic departments and media studies echelons (even ones I belong to as a Associate Teaching Professor at The New School). It will always be an art for the masses, and I think it could become an art by the masses as well. We are finally seeing films by people of color, women, and others who have been relegated to small projects in the past, and I am heartened by this.

So I will continue to write about films that stand out to me as much as I can, and I will continue to make films about people who do things I would never do. I still don’t know why I make films, why I obsessively see films, or why I write about them, but I continue to feel this powerful urge to engage with others about what I experience on the screen, and so I will continue to do that here. I hope the point will become clear to me some day, but in the mean time please forgive my self-indulgence, if that’s what it is.

Three Billboards outside Ebbing Missouri

 

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Frances McDormand in Three Billboards outside Ebbing Mssori. Courtesy of Fox Searchlight Pictures.

I did not run out and see writer/director/producer Martin McDonagh’s new film Three Billboards outside Ebbing Missouri because I knew it had something to do with an abduction of a young girl, and as a  parent, I tend to avoid plots like that. I didn’t really read about the film either, just enough to know that Frances McDormand was in it and that it was curiously labeled a dark comedy. This last factor is what got me to the theater earlier today; how could a film about the loss of a child be comic?

Three Billboards accomplishes this difficult feat because it isn’t actually about what happened to the lead character Mildred Hayes’ daughter Angela as much as it’s about what happened to the community around this awful event, and by extension, what happens to communities all over the world in the face of trauma, injustice, and tragedy.

McDormand plays Hayes as a steely-eyed, somewhat frightening, divorced mother trying to make it through each day in the wake of her daughter’s vicious rape and murder several months earlier. Frustrated with the lack of suspects brought in and her sense that the police are too busy harassing African-American kids for misdemeanors to “do their job” and investigate the murder, she takes the odd step of purchasing space on three billboards on the remote road near where her daughter was killed to chastise the police chief by asking why there have been no arrests. When it is revealed that the chief has pancreatic cancer, the town turns on Hayes, seeing her billboards as cruel considering he is on his deathbead.

And in a sense, it is cruel for her to leave those signs up in light of the chief’s devastating illness that will leave his two young daughters fatherless in a matter of weeks or moths. But it is this sort of  morally ambiguous circumstance that is piled up in layers throughout the brilliantly constructed script. The characters face tragedy after tragedy, each one responding in the way humans ordinarily do: with anger, violence, and hatred. And time and time again that response leads to further injustices, more pain for someone, and little by little an erosion of the community itself.

I could talk about the strength of McDormand’s performance, the equally solid work of Woody Harrelson as the Chief and Sam Rockwell as a racist police officer, but the weight of the film is carried by its script, which never feels predictable, but ends up seeming very real and very familiar. Police brutality, anti-cop violence, misogyny, racism, the victimization of young women, even the crimes of the Catholic Church are all subjects broached here, but ultimately, I was moved by everything in the story leading to the conclusion that anger in the face of tragedy must be tempered by thought, compassion, and an abiding vigilance guarding our common humanity.