Goodbye to Language
Jean-Luc Godard’s 43rd feature, shot in 3-D and “starring” his beloved dog Roxy, is a work of the greatest freedom and joy, as impossible to summarize as a poem by Wallace Stevens or a Messiaen quartet.
Q&A with actress Héloïse Godet on September 27
The 43rd feature by Jean-Luc Godard (and the only film at the 2014 Cannes Film Festival to get a round of applause mid-screening), Goodbye to Language alights on doubt and despair with the greatest freedom and joy. At 83, Godard works as a truly independent filmmaker, unencumbered by all concerns beyond the immediate: to create a work that embodies his own state of being in relation to time, light, color, the problem of living and speaking with others, and, of course, cinema itself. The artist’s beloved dog Roxy is the de facto “star” of this film, which is as impossible to summarize as a poem by Wallace Stevens or a Messiaen quartet. Goodbye to Language was shot, and can only be truly seen and experienced, in 3-D, which Godard has put to wondrous use. The temptation may be strong to see this film as a farewell, but this remarkable artist is already hard at work on a new project. A Kino Lorber release.
After NYFF, Goodbye to Language will return to the Film Society of Lincoln Center on October 29 for a theatrical run.
Travel support provided by Unifrance
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