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\nIl 13\u00a0gennaio 2012 la nave da crociera Costa Concordia ha subito un incidente allo scafo che ne ha provocato il parziale affondamento a poche centinaia di metri dall’Isola del Giglio, nel mar Tirreno, Italia. Il colosso del mare aveva a bordo oltre 4000 fra passeggeri e personale. Ad oggi il numero delle vittime accertate \u00e8 di 16 unit\u00e0, 19 i dispersi.<\/p>\n
Jean-Luc Godard sulla Costa Concordia realizz\u00f2 il primo ‘movimento’ di Film Socialisme<\/em>, pellicola del 2010. Un film frammentato e stratificato, che ha spinto molti critici ad affrontarlo come testo da scomporre.<\/p>\n Sapere che questa nave \u00e8 affondata getta una luce sorprendente sul film di JLG perch\u00e9 ogni sua immagine pare provenire da un tempo mai stato, ancor prima che ‘passato’. Queste immagini sono gi\u00e0 sott’acqua, reperto storico da recuperarsi in un fondale marino. Europa come Atlantide?<\/p>\n <\/p>\n <\/p>\n I<\/strong><\/p>\n S\u2019il fallait donner une signification \u00ab au \u00bb Film Socialisme, elle r\u00e9siderait dans la volont\u00e9 de montrer qu\u2019aujourd\u2019hui s\u2019est enfin r\u00e9alis\u00e9e la conjonction historique entre capitalisme et socialisme : l\u2019un et l\u2019autre ne font qu\u2019un. Nous nous trouvons \u00e0 bord d\u2019un navire, et le capitalisme qui organise la croisi\u00e8re est en fait une merveilleuse illustration de la beaut\u00e9 socialiste. En fin de compte, quelle est la diff\u00e9rence entre capitalisme et socialisme ? L\u2019un comme l\u2019autre ont exactement le m\u00eame but : celui de mettre tout le monde \u00e0 \u00e9galit\u00e9 face au fric. Les deux courants inverses ont les m\u00eames fins. Il s\u2019agit d\u2019une simple inversion de termes.<\/p>\n Jean Douchet | Lumi\u00e8re<\/a><\/p>\n <\/p>\n <\/p>\n II<\/strong><\/p>\n To evoke what? Europe, for the most part, meaning a repository of grand traditions and unspeakable horrors and also (to use a Poundian term) a vortex of cultural meaning and political conflict.<\/p>\n A. O. Scott | New York Times<\/a><\/p>\n <\/p>\n III<\/strong><\/p>\n \u00abPauvre Europe. Non pas purifi\u00e9e mais humili\u00e9e par la souffrance.\u00bb<\/p>\n Frase pronunciata da una ragazza sul ponte della Concordia in Film Socialisme<\/i><\/p>\n <\/p>\n <\/p>\n IV<\/strong><\/p>\n Film Socialisme<\/i> \u00e8 il racconto dell\u2019Europa e del Mediterraneo. Dell\u2019oro spagnolo in viaggio verso l\u2019Unione Sovietica che non giunge a destinazione, della Palestina che diventa segno del cinema, di un Europa che Godard vorrebbe rivedere felice perch\u00e9 questo \u00e8 il tempo in cui i “furfanti sono sinceri”.<\/p>\n Giona A. Nazzaro | MicroMega<\/a><\/p>\n <\/p>\n <\/p>\n V<\/strong><\/p>\n Un film che va direttamente alla radice di qualsiasi ipotesi sul \u201ccomune\u201d: la civilt\u00e0 mediterranea. Come Um filme falado di Oliveira, tutto il primo terzo \u00e8 una crociera sul mediterraneo abitata da diverse nazionalit\u00e0 europee; e, come in quel film, la \u201clingua franca\u201d inglese viene apertamente ridicolizzata, stavolta sminuzzando e \u201cultra-pidginizzando\u201d l\u2019inglese dei sottotitoli, ridotto alla riproduzione di qualche parola del dialogo sonoro tradotta e messa l\u00ec a caso, avulsa, senza nessuna coerenza sintattica. Come pu\u00f2 esistere una lingua franca se solo l\u2019incomparabile pu\u00f2 essere comparato?<\/p>\n Marco Grosoli | La Furia Umana<\/a><\/p>\n <\/p>\n <\/p>\n VI<\/strong><\/p>\n Anyone who sat through Film Socialisme may have suspected that the Costa Concordia was heading for trouble. The cruise liner was the setting for the first “movement” of Jean-Luc Godard’s ambitious, infuriating 2010 picture, serving as a self-conscious metaphor for western capital ploughing through choppy waters. In Godard’s film, the Concordia plays the role of a decadent limbo where the tourists drift listlessly amid the ritzy interiors. The passengers include a UN official and an elderly war criminal. The onboard entertainment comes courtesy of an unsmiling Patti Smith.<\/p>\n Xan Brooks | The Guardian<\/a><\/p>\n <\/p>\n <\/p>\n VII<\/strong><\/p>\n Film Socialisme<\/i> podr\u00eda ser, dicen, el \u00faltimo film de Godard, el \u00faltimo para el cine. \u00daltima pel\u00edcula y no pel\u00edcula-testamento, lo cual, como sabemos, no existe verdaderamente, al menos para aquellos que hacen pel\u00edculas. Se puede hacer un film-suma, lo cual fue el caso para Godard con sus Histoire(s) du cin\u00e9ma<\/i> (1988-1998), pero no un film-testamento, en el sentido en que se oye el t\u00e9rmino habitualmente. Entonces, \u00bfqu\u00e9 ha querido hacer Godard con Film Socialisme<\/i>? Una \u00faltima pel\u00edcula, de acuerdo, pero en el sentido en que \u00e9l concibe lo que puede ser el final de una obra.<\/p>\n Fr\u00e9d\u00e9ric Majour | Lumi\u00e8re<\/a><\/p>\n <\/p>\n <\/p>\n VIII<\/strong><\/p>\n Il tema del Mediterraneo e dei suoi conflitti viene introdotto dalla conflagrazione causata da questi due estremi: da una parte la tristezza decadente della societ\u00e0 capitalistica che (letteralmente) si chiude in una gabbia dorata decorata con pessimo gusto, dall\u2019altra il suo enorme patrimonio culturale e storico, ammirato fuggevolmente e capito ancora meno.<\/p>\n Alberto Zambenedetti | Spietati.it<\/a><\/p>\n <\/p>\n <\/p>\n IX<\/strong><\/p>\n joseo<\/i>: anyone know the camera they used?<\/p>\n Mueller-P-D:<\/em> According to the Trailer on vimeo<\/a>, the film has been filmed on different cameras: Archos 404 cam., Samsung Nv24HD, Canon 5d mk2, Sony Ex1, Sony TG1E, Panasonic snap shot, JVC Everio.<\/p>\n arkid77<\/i>: Thanks for that Mueller. All the cameras listed apart from the Sony Ex1 are basic consumer products and its clear things like this were used in the internal shots on the ship. But lots of the film, especially the filing at the petrol station was on a high quality looking camera. Do you know much about the Sony Ex1 and if it was possible to do this? The still on that landing page at vimeo alone has nice lighting and hardly any over exposed white out visible.<\/p>\n frederikinho<\/i>: Most part of it was made with 5D. You can recognize it from the colors and the lightning performance. arkid77<\/i>: akells, while its fair to say the 5d is a semi pro camera, its certainly got a very very niche market within the film industry and its certainly not being used by hollywood in general. i… know its been used for small pickup shots and action sequences where very light \/ small equipment is required, but very few people would want to use something like this for all of principal photography if they had the choice of any pro kit and they had any kind of real film budget. sure its being used by tens of thousand of would-be directors making films on shoe string budgets but thats certainly not Hollywood. although lens quality does have a lot to do with image quality, in the digital world censors are vital as well and the 5d although full frame has nowhere near the light sensitivity or colour reproduction of some proper made for film digital cameras such as the smaller censored RED ONE camera.<\/p>\n Ashley Pomeroy<\/i>: “in the digital world censors are vital as well” – quite true, as Scarlett Johansson has just found out. On a more serious level the 5D’s major failings are moire and a relatively low bit rate, and no support for a “raw” movie format. And the rolling shutter. And the odd form factor. It’s good for people shots. Not sure about “nowhere near the light sensitivity”.<\/p>\n Message Boards: Technical specifications | Imdb<\/a><\/p>\n <\/p>\n <\/p>\n X<\/strong><\/p>\n ‘Quo vadis Europa?’ \u00e8 la grande domanda. Risposte a scelta: a) vaga senza bussola; b) sta andando contro l’iceberg mentre noi balliamo al suon dell’orchestrina.<\/p>\n Mariarosa Mancuso | Il Foglio<\/p>\n <\/p>\n <\/p>\n XI<\/strong><\/p>\n Film Socialisme<\/i> is a film in three parts: \u201cDes choses comme \u00e7a\u201d (\u201cThings like that\u201d), \u201cQuo Vadis Europa\u201d and \u201cNos humanit\u00e9s\u201d (\u201cOur humanities\u201d). The dialogue is mainly in French, but ten other languages (Latin, Russian, German, Italian, Spanish, Hebrew, Arabic, Bambara, English and Greek) are present on the soundtrack or on title cards, most of them very briefly, and are not translated on the French prints of the film. Jean-Luc Godard would have liked to show Film Socialisme without any subtitles at the Cannes film festival, but both his French distributor Wild Bunch and the festival urged him to provide English subtitles. He agreed, provided that he could make them \u201chis way\u201d \u2013 a request that was met favourably.<\/p>\n Samuel Br\u00e9an | Sense of Cinema<\/a><\/p>\n <\/p>\n <\/p>\n XII<\/strong><\/p>\n Prende il titolo proprio dallo striscione di una manifestazione popolare comunista nelle ramblas, ‘Film socialisme’ – ovvero come l’artista visivo Jean Luc Godard non ha perso il vizio di insegnare due o tre cose che sa delle immagini a tutti. Ed \u00e8 un’opera-saggio, complicata e seducente, semplice e ecologicamente salutare, in forma di trittico (o di dialettica, tesi, antitesi, sintesi…).<\/p>\n Roberto Silvestri | Il Manifesto<\/p>\n <\/p>\n <\/p>\n XIII<\/strong><\/p>\n Come in Un film parlato<\/i> di de Oliveira, sulla nave di Godard si viaggia attraverso le lingue del mediterraneo e la sua storia. I formati si sovrappongono e si scontrano. Il sonoro diventa un altro film ancora e i sottotitoli inglesi, piuttosto che tradurre la lettera dei testi recitati, citati e ascoltati, condensano, trasformano, capovolgono come in un gioco di cut-up burroughsiano i continui rimandi interni del film. Come in un gioco continuamente differito, JLG gioca con le immagini e i materiali del reale. Riflette sulla Grecia (Hellas diventa HELL AS) mentre il suo viaggio tocca Barcellona, Napoli evoca la Russia e la Germania sognando un\u2019altra Palestina. E Patti Smith appare fugace, come un frammento fra i tanti, in cabina e in coperta, non riconosciuta dagli altri viaggiatori.<\/p>\n Giona A. Nazzaro | MicroMega<\/a><\/p>\n <\/p>\n <\/p>\n XIV<\/strong><\/p>\n Una sceneggiatura che non c’\u00e8, se non a rimorchio di citazioni letterarie, sociologiche, cinematografiche una storia che non pu\u00f2 avanzare, in quanto esiste solo nel momento in cui la si filma. Unica certezza: si parte su una nave da crociera (vera) e, in mezzo a terrificanti turisti in pensione (veri), si percorre il Mediterraneo (Egitto, Palestina, Grecia, Napoli, Barcellona) senza la foggia da illustrazione turistica<\/p>\n Dadide Turrini | Liberazione<\/p>\n <\/p>\n <\/p>\n XV<\/strong><\/p>\n Confrontational. Pretentious. Incomprehensible. Pointless. All of these words, and a few choice other ones that don\u2019t fit well within the confines of a film review, have been used to not only describe director and cinematic icon Jean-Luc Godard, but for much of his career they have been the responses had by those who subject themselves to a new work from the auteur\u2019s auteur.<\/p>\n Josh Brunsting | Criterioncast<\/a><\/p>\n <\/p>\n <\/p>\n XVI<\/strong><\/p>\n Sur le bateau de la compagnie Costa, les touristes ne cessent de prendre des photos du paysage ou de leurs proches. Godard se serait d\u2019ailleurs servi d\u2019un de ces appareils num\u00e9riques pour filmer certains plans.<\/p>\n Arthur Mas, Martial Pisani | Independencia<\/a><\/p>\n <\/p>\n <\/p>\n XVII<\/strong><\/p>\n In Film Socialisme<\/i>, the first in what promises to be a string of last films, he ponders the sorry state of modern Europe, revisits past sites from his own cinema, and makes a nostalgic reference to the bygone urge to \u201creturn to zero.\u201d Of course, Godard has been returning to zero for a long time now, film by film, idea by idea, and moment by moment, with blackouts, repetitions, shock cuts, and insertions of phantom effects into his soundtracks.<\/p>\n Kent Jones | Film Society Lincoln Center<\/a><\/p>\n <\/p>\n <\/p>\n XVIII<\/strong><\/p>\n Film Socialisme<\/i> trascina uno stupefatto spettatore in un viaggio vertiginoso, a condizione che sia disposto a mollare gli ormeggi narrativi per seguire Jean-Luc Godard su una “vague” che somiglia pi\u00f9 a un maremoto, come annunciato dal suono grave delle due parole sovrapposte che compongono il titolo, da sempre messe in dialogo fra loro dal maestro svizzero, in modo sperimentale.<\/p>\n B\u00e9nedicte Prot | cineuropa.org<\/a><\/p>\n <\/p>\n <\/p>\n XIX<\/strong><\/p>\n Like Godard\u2019s last feature, Notre musique<\/i>, the entirely digital Film Socialisme<\/i> is divided into three parts. The first is like nothing I\u2019ve ever seen. Taking place on a Mediterranean cruise ship on which it seems Godard gave a variety of video cameras to his cast to shoot around the boat, ranging in quality from the HD the director himself is clearly shooting in all the way down to something that looks like cell phone camera footage, this section colorfully evokes the captivatingly messy digital panoply of David Lynch\u2019s INLAND EMPIRE<\/i>. Like the abrasive, beautiful sound mix, which juxtaposes gorgeous musical excerpts with the abrupt dropping and interrupting of audio elements coming from the left and right speakers, Socialisme\u2019s first part is a dense layer cake of imagery.<\/p>\n Daniel Kasman | Mubi\/notebook<\/a><\/p>\n <\/p>\n <\/p>\n XX<\/strong><\/p>\n On ne se d\u00e9fait pas ais\u00e9ment de Film Socialisme<\/i> de Jean-Luc Godard, justement parce que la vision du film nous surprend tellement, nous d\u00e9sar\u00e7onne \u00e0 tel point que, n\u00e9cessairement, les plans et les sons, leur beaut\u00e9 et leur \u00e9tranget\u00e9, leur agencement ou leur composition ne nous laissent pas en paix. Mais, peu \u00e0 peu, le film revient \u00e0 la surface, plus apais\u00e9 que lors de la vision premi\u00e8re o\u00f9 l\u2019impression de chaos pr\u00e9domine. Quelque chose du film vient frapper \u00e0 votre porte, plusieurs jours plus tard, et ne vous laisse plus tranquille. N\u2019est-ce pas ce qu\u2019on attend d\u2019un film ? Inutile de chercher \u00e0 tout comprendre, ni \u00e0 suivre Godard dans tous les recoins de sa pens\u00e9e, souvent faite de citations. Mieux vaut se laisser guider par la po\u00e9sie tumultueuse qui agite son film.<\/p>\n Serge Toubiana | La cin\u00e9math\u00e8que Fran\u00e7aise<\/a><\/p>\n <\/p>\n <\/p>\n <\/p>\n![](\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/01\/godardconcordia_001.jpg\")
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\nakells: The Canon EOS 5D Mark II is hardly a ‘basic consumer camera’! It’s a semi-pro ‘full frame’ digital SLR, that is increasingly being used by Hollywood. Also, image quality has as much, if not more, to do with the quality of the lens.<\/p>\n![](\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/01\/godardconcordia_010.jpg\")
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