Passion - Jean-Luc Godard (1982)
sortie: 1982 , France

cast: Isabelle Huppert, Hannah Schygulla, Jerzy Radziwilowicz, Michel Piccoli, Laszlo Szabo, jean-François Stevenin...

Un cinéaste polonais tourne un film constitué de reproductions de tableaux sans trouver la lumière juste. Une ouvrière syndicaliste bégayante est licenciée. La femme du patron de l'usine s'éprend du cinéaste, qui s'intéresse plus à l'ouvrière.

Ou, comment faire du cinéma sans forcément raconter une histoire!

A l'époque, Godard disait: je fais du cinéma, je ne fais pas des films. Nom de Dieu, pourquoi faut-il raconter des histoires ? Quand on fait du cinéma, on n’a pas besoin de raconter des histoires.

commentaire tiré des Chahiers du Cinéma:

“

Il y a d'un côté le monde réel du travail et de l'autre le spectacle fictif de l'amour. Ou d'une part le documentaire (accentué par un style neutre) et de l'autre la fiction (accentuée par un style chatoyant et lyrique). » JLG, «Passion, introduction à un scénario», A. Bergala, Godard par Godard, Éd. Cahiers du cinéma, 1998

”

a smart english review (by James Travers):

“

Depending on your predisposition towards Jean-Luc Godard, or your stamina, this is either an intriguing development of Godard’s art form, challenging the fundamentals of film making, or an absolutely appalling piece of cinema. In a sense, this film illustrates a logical continuation of Godard’s cinema and is no less radical than some of his early New Wave masterpieces, such as Pierrot le Fou or La Chinoise. Over the 1970s and 1980s, the Swiss director’s approach becomes increasingly attracted towards an abstract concept of the cinematographic art, and the necessity to adhere to the principle of narrative form becomes less and less important - at least in Godard’s mind. What Godard appears to be seeking is something akin to the Impressionist movement of late nineteenth century art - to capture the essence of life with imagery and form, without having to tell a story. Unfortunately, however noble this objective might appear, it just doesn’t seem to work - and certainly not in the cinema of the 1980s. Unlike another medium, film places very severe limitations on what can be achieved and what an audience will tolerate. This is because film, like a novel, is a medium which requires a great investment, in terms of time and concentration, from its intended target. If a film-maker strays too far into the abstract, he risks alienating himself from his audience - which is more or less what happened to Jean-Luc Godard in the 1980s. The great director was so overwhelmed by his creative impulse that he lost the ability to communicate to his audience - a tragic mistake. Passion is a film that illustrates this point very well, and it is interesting how self-conscious Godard is about what he is doing. Jerzy’s thoughts about the necessity to tell a coherent story are clearly Godard’s own thoughts, and the film is really nothing more than an overly self-indulgent examination of Godard’s philosophy about film-making at the time.

”

http://rapidshare.com/files/121644054/Passion-Jean-Luc_Godard.avi.001.html
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Screenshots with VLC

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RIP+UP | XviD-1238 | mp3@128 | 672x 368 | 2 Trx Francais_1 English_2 | DVD Cover & Sticker | 1h33 | 1.0 Gb

UK 1982

Réalisation Jerzy Skolimowski

Avec/Cast Jeremy Irons, Eugene Lipinski, Jirí Stanislav, Eugeniusz Haczkiewicz, Dorothy Zienciowska ...

Quatre ouvriers polonais arrivent à Londres pour faire des travaux chez un compatriote. Nowak, étant le seul à parler anglais, devient arrogant et se fait détester par ses camarades. En apprenant le coup d'Etat de Jaruzelski, il cache à ses copains la nouvelle.

Jeremy Irons stars in this internationally acclaimed drama about a Polish building contractor who leads a group of construction workers to a job in London only to find himself stuck there when political upheaval grips Warsaw. Now, Irons must keep his crew together as they face language barriers, loneliness and the Western world's many appeals.

Screenshots with VLC








http://rapidshare.com/files/106902711/travail_au_noir.part01.rar
http://rapidshare.com/files/106906901/travail_au_noir.part02.rar
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No Pass

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Wim Wenders-Stand der Dinge, Der (1982)



This is not a movie that's easy to understand, yet it easily makes you think. It smells of nostalgia and of things past and fading. The film that the film crew is shooting about survivors to a nuclear holocaust is a parallel to the director's own journey to collect money from his LA producer in order to continue the film. The movie is visually beautiful, full of the magic of black and white photography. It's also a movie that constantly speaks about itself, about the hardships of shooting black and white, and about the need for "a story" which the film itself seems to lack. It tries not to be a film, but to film life. Yet, in the ordinary and particular of everyday life it conveys the eternal and universal.



The cinematographer,real or fake,who would have been free to explore life and death, through narratives and images of his own conception, becomes an object of exploitation from the medium and it's economic concomitants.So he fools himself by abandoning his art to the conventions of economic necessity.Friedrich, and by implication Wenders,is afraid of the void that precedes the stories and the void that comes after.They both desire to integrate and at the same time they fear the outcome of this integration.The project of discriminating between false and authentic representation, between autonomy and manipulation or seduction is omnipresent in DER STAND DER DINGE.Against the threat of manipulation, Wenders romantically upholds the image as something pure and autonomous, an image that derive it's meaning through a network of signification but is meaningful in itself.Wenders task is "Wahrnehmen", that is to authenticate and to perceive at the same time by ascribing truth and beauty.Hence Wenders attempts to preserve something that is bound to disappear.His agenda is the recovery of vision.In Paul Cezanne's view,Wenders expresses a desire to hold the ephemeral: "Things are looking bad.You have to hurry if you want to see anything.Everything is disappearing".His films pay homage to his models who taught him the art of seeing:paintings of Edward Hopper and the par excellence Romanticism of Caspar David Friedrich, the photography of Walker Evans and August Sander.Yet his films increasingly become aware of the difficulty and even impossibility of combating the power of images through cinema.This is characterized by a paradoxical situation in which Wenders has to create images in order to battle them.Clearly this invocation of an older generation is an attempt to rid himself of a cultural legacy that he repudiates yet dares not fully confront.
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