Ici et ailleurs (Here and Elsewhere) (1976)





Critic Consensus: No consensus yet.

Movie Info

Initially begun as a documentary about Palestinian revolutionaries, Ici et Ailleurs (in English, Here and Elsewhere) was ultimately transformed into an hour-long filmed essay addressing the relationship between politics and image, the problems of documentary filmmaking, and the danger of media saturation. Collaborators Jean-Pierre Gorin and Anne-Marie Melville began the film with funding from Palestinian forces, under the title Victory, intending to create a sympathetic portrait of the revolutionaries as a true people's movement. Not long after the filmmakers' return to France, however, most of their subjects were killed in warfare, and the issues behind the film no longer seemed so simple. At this point Jean-Luc Godard joined the production, helping create a series of scenes focusing on the life of a middle-class French family; this is the "Here" portion of the film, with Palestine as "Elsewhere." By editing together documentary and fictional footage, and commenting on these images through photo collages, title screens, and other reflexive techniques, the film questions the association between political thought and the structures of fiction. Ultimately, Ici et Ailleurs seems suspicious of all images, even its own; the suggestion is that all films, especially documentaries, present a false, constructed vision of reality. ~ Judd Blaise, Rovi
Art House & International , Documentary , Drama , Special Interest , Television
Directed By:
Written By:
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Jean-Luc Godard
as Narrator

Critic Reviews for Ici et ailleurs (Here and Elsewhere)

All Critics (0)

Godard fans will be forever indebted to Olive Films for releasing one of the director's most challenging but least-seen films, even if the DVD itself hits shelves sans special features.

Full Review… | June 22, 2012
Slant Magazine

No excerpt available.

Full Review… | February 6, 2011
Cinematic Reflections

Audience Reviews for Ici et ailleurs (Here and Elsewhere)

It becomes dangerously pro-Palestine at times (by that I mean pro-terrorist in the guise of pro-revolutionary), but what almost saves it is that the filmmakers can into question the whole form of documentary of this nature. It's a look back for Godard of his days as a Maoist before his near-fatal motorcycle accident, and there's a sense of meditation on his part on the whole mess of trying to document something that is so simple and awful at the same time (some of the terrorists interviewed may have had connections to Black September it's revealed). Neither best nor worst for the filmmaker, it's really just something completists should check out.

Jack Gattanella
Jack Gattanella

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