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PMA Films: Godard Cinema + Trailer of a Film That Will Never Exist: 'Phony Wars'

  • Portland Museum of Art 7 Congress Square Portland, ME, 04101 United States (map)

SCREENING IN THE BERNARD OSHER FOUNDATION AUDITORIUM


It refuses to reduce Godard’s output to the relatively accessible French New Wave period and tries to deal with him in all his thorniness.
— Ben Kenigsberg, New York Times

120 minutes. Not Rated. Directed by Cyril Leuthy, Jean-Luc Godard. In French with English subtitles. DCP.

Godard Cinema (100 minutes):

Jean-Luc Godard is synonymous with cinema. With the release of Breathless in 1960, he established himself overnight as a cinematic rebel and symbol for the era's progressive and anti-war youth. Sixty-two years and 140 films later, Godard is among the most renowned artists of all time, taught in every film school yet still shrouded in mystery. One of the founders of the French New Wave, political agitator, revolutionary misanthrope, film theorist and critic, the list of his descriptors goes on and on. Godard Cinema offers an opportunity for film lovers to look back at his career and the subjects and themes that obsessed him, while paying tribute to the ineffable essence of the most revered French director of all time.

Preceded by:

Trailer of a Film That Will Never Exist: ‘Phony Wars’ (20 minutes)

At the time of his death in September 2022, Jean-Luc Godard had been in the midst of planning another feature, an adaptation of Belgian author Charles Plisnier’s 1937 novel Faux Passports. Though the film was never produced, the intricate and beautiful “trailer” that Godard put together in preparation now stands as his final work, a complex collage of history, politics, and cinema constructed of paper and glue, paintings and photographs, sound and silence. Godard often transformed his synopses into aesthetic programs. His swan song follows in this tradition and will remain as the ultimate gesture of cinema, which he accompanies with the following text: “Rejecting the billions of alphabetic diktats to liberate the incessant metamorphoses and metaphors of a necessary and true language by returning to the locations of past film shoots, while keeping track of modern times.”

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