1.Jean-Luc Godard
Chris Fujiwara

In Godard’s late work, the freshness and harshness of images suggest the emotion of someone bidding farewell to an existence that still fascinates him, while trying to reach the clearest possible view of contradictions that he no longer hopes to see resolved. This impulse finds expression in Notre musique in the attempt to slow or stop the image, in the lingering emphasis on an apparently insignificant detail, in the sudden evocation of the real weight and presence of things. Notre musique is a film of dualities: image/text, fiction/documentary, certainty/uncertainty, imaginary/real, Israel/Palestine, happiness/nothingness. The cinema, for Godard, is the place where the terms of these oppositions are allowed to stand out against each other, to exist within an immediate experience that is at once an aesthetic form, a political statement, and an act of love.

1. ジャン=リュック・ゴダール