Notre Musique (2004)
Critic Consensus: A dense, but thoughtful meditation about war by Jean-Luc Godard.
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Legendary French filmmaker Jean-Luc Godard once again poses a number of provocative questions about art, politics, and the nexus point between them in this drama in three acts, "Hell," "Purgatory," and "Paradise." After a collage-style meditation on the nature of war and conflict in society, Godard introduces his central set piece, in which a group of authors, artists, and noted thinkers gather for a symposium taking place in the battle-scarred city of Sarajevo. Olga Brodsky (Nade Dieu), a journalist who is French and Jewish by birth and Israeli by choice, has come to discuss the conflict between her adopted nation and Palestine with the many notables in attendance. As Olga discusses issues of conflict, identity, and culture, one of the participants, Jean-Luc Godard, posits the notion that it's the essential differences of all the peoples of the world, rather than their similarities, which are at the root of our world. Notre Musique was screened at the 2004 Cannes Film Festival. … More
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as Judith Lerner
as Olga Brodsky
as C. Maillard
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Critic Reviews for Notre Musique
Jean-Luc Godard's unfathomable influence on filmmaking has allowed him to enjoy a kind of grandfather clause in recent years.
This film, which awakens your inner philosopher and encourages it to breathe, may not be an experience for everyone; if only it were.
There's plenty here to unpack, most of it regarding modern malaise, and the rewards are proportionate to the amount of work you want to put in.
Hardly a director alive possesses Godard's eye for dynamic, inner-lit old-masterly compositions.
Godard's montage is as deadly as ever and his palette is seemingly every camera shot that has ever been made.
Audience Reviews for Notre Musique
unfortunately this film is another example of godards style during this late part of his career over the past 30 years where he is sacrificing coherent story for stylistic elements, despite the fact that early in his career he was able to do both well. having said that, this is a much better example of this sort of filmmaking than godards 80's films. rather than a strait forward story this film plays out more like cultural and philosophical snap shots, and the flow of the film was helped out quite a bit by the influence of dante on the three act structure. i still miss godards dialogue and story telling mastery of the 1960's, but this is a great film for thinking through the world and nature of humanity.
[font=Century Gothic]Jean-Luc Godard's "Notre Musique" consists of three parts. "Hell" is a ten-minute long prologue consisting of a montage of violent images from cinema and real life.(Very reminiscient of Chris Marker, by the way.) The main section of the movie, "Purgatory", takes place in Sarajevo(with a surprisingly large American Indian population) where an Israeli journalist, Olga(Sarah Adler), has just arrived. The third section is an epilogue, named "Paradise".[/font]
[font=Century Gothic]"Notre Musique" pretty much dispenses with any kind of character development or story and simply floats a whole bunch of free-floating ideas. The most intelligible of these involves those mentioned by Olga about Sarajevo being a possible model of peace(the notion that two very different groups of people can co-exist peacefully) for the Middle East. [/font]
Godard's semi documentary has many interesting elements but it's inability to come up with a cohesive whole ultimately leaves the viewer wanting.
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