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Un filme socialista

Título original: Film socialisme
  • 2010
  • B
  • 1h 42min
CALIFICACIÓN DE IMDb
5.7/10
3 k
TU CALIFICACIÓN
Un filme socialista (2010)
Trailer for Film Socialisme
Reproducir trailer1:16
1 video
10 fotos
Drama

Los pasajeros de un crucero mediterráneo disfrutan a la par que una familia sufre por la atención sobrecogedora por parte de los medios de comunicación.Los pasajeros de un crucero mediterráneo disfrutan a la par que una familia sufre por la atención sobrecogedora por parte de los medios de comunicación.Los pasajeros de un crucero mediterráneo disfrutan a la par que una familia sufre por la atención sobrecogedora por parte de los medios de comunicación.

  • Dirección
    • Jean-Luc Godard
  • Guionistas
    • Jean-Luc Godard
    • Walter Benjamin
    • Jacques Derrida
  • Elenco
    • Jean-Marc Stehlé
    • Agatha Couture
    • Mathias Domahidy
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    5.7/10
    3 k
    TU CALIFICACIÓN
    • Dirección
      • Jean-Luc Godard
    • Guionistas
      • Jean-Luc Godard
      • Walter Benjamin
      • Jacques Derrida
    • Elenco
      • Jean-Marc Stehlé
      • Agatha Couture
      • Mathias Domahidy
    • 20Opiniones de los usuarios
    • 94Opiniones de los críticos
    • 64Metascore
  • Ver la información de producción en IMDbPro
    • Premios
      • 5 premios ganados y 2 nominaciones en total

    Videos1

    Film Socialisme
    Trailer 1:16
    Film Socialisme

    Fotos10

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    Elenco principal27

    Editar
    Jean-Marc Stehlé
    Jean-Marc Stehlé
    • Otto Goldberg (segment "Des choses comme ça")
    • (as JM.STEHLÉ)
    Agatha Couture
    • Alissa (segment "Des choses comme ça")
    • (as A. Couture)
    Mathias Domahidy
    • Mathias (segment "Des choses comme ça")
    • (as M. Domahidy)
    Quentin Grosset
    • Ludovic (segment "Des choses comme ça")
    • (as Q. Grosset)
    Olga Riazanova
    • Olga - Russian secret agent (segment "Des choses comme ça")
    • (as O. Riazanova)
    Maurice Sarfati
    • (segment "Des choses comme ça")
    • (as M. Sarfati)
    Patti Smith
    Patti Smith
    • Self - Singer (segment "Des choses comme ça")
    • (as P. Smith)
    Lenny Kaye
    • Self - Guitarist (segment "Des choses comme ça")
    • (as L. Kaye)
    Bernard Maris
    • Self - Economist (segment "Des choses comme ça")
    • (as B. Maris)
    Marie-Christine Bergier
    • Frieda von Salomon (segment "Des choses comme ça")
    • (as MC.BERGIER)
    Nadège Beausson-Diagne
    Nadège Beausson-Diagne
    • Constance (segment "Des choses comme ça")
    • (as N. Beausson)
    Bob Maloubier
    Bob Maloubier
    • Self - French secret agent (segment "Des choses comme ça")
    • (as R. Maloubier)
    Dominique Devals
    • (segment "Des choses comme ça")
    • (as D. Devals)
    Alain Badiou
    Alain Badiou
    • Self - Lecturer (segment "Des choses comme ça")
    • (as A. Badiou)
    Elias Sanbar
    • Self - Haifan Historian (segment "Des choses comme ça")
    • (as E. Sanbar)
    Catherine Tanvier
    • Catherine - Mother (segment "Quo vadis Europa")
    • (as C. Tanvier)
    Christian Sinniger
    Christian Sinniger
    • Jean-Jacques Martin - Father (segment "Quo vadis Europa")
    • (as C. Sinniger)
    Marine Battaggia
    • Florine "Flo" Martin (segment "Quo vadis Europa")
    • (as M. Battaggia)
    • Dirección
      • Jean-Luc Godard
    • Guionistas
      • Jean-Luc Godard
      • Walter Benjamin
      • Jacques Derrida
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios20

    5.73K
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    Opiniones destacadas

    5lee_eisenberg

    Jean-Luc Godard really went all out here, didn't he?

    I'll admit that I've only seen a handful of Jean-Luc Godard's movies. "Film socialisme" is the latest. Very bizarre movie. In fact, it doesn't really emphasize a plot. It's hard to tell what the movie's emphasis is supposed to be, with the focus on a group of people aboard a cruise ship in the Mediterranean. Maybe Godard wanted to address the use of certain places as tourist meccas, but I couldn't be certain. With current events in the world, it's probably significant that the movie includes Palestine.

    I'd like to see the rest of Godard's movies, but I doubt that I'll ever be able to truly understand what sort of point he was trying to make with this one.

    Watch for singer-songwriter Patti Smith in a brief appearance.
    Chris_Docker

    A treat for fans of Godard

    I get quite excited at the prospect of a new Godard. Not that I see his work as any ultimate example. It's not. But somehow it is in a different milieu to most films you can watch. Like poetry, it's not about the words or images, but the joy that comes from exploring, from original thought. Sound and vision used not to entertain but to seek deeper levels than can be expressed in prose or 'narrative cinema as we know it.' Yet the slew of bad reviews prepared me for the worst. Perhaps age had caught up with the grand master of Nouvelle Vague? Or perhaps Godard was not beyond playing a joke on his audience, just to see what they make of it?

    Omens weren't great. A small auditorium and no more than a dozen people there as I walk in. Some obviously by mistake. As they walk out halfway through. But I am already entranced. Wondering if I will be able to see it again in the final screening tomorrow. Looking forward to the DVD so I can stop-start for quotes that send my head spinning like I'm back in my alma mater's philosophy class. A dizzying array of original and masterly techniques. And, like poetry, enough fluidity to offer meanings in ways that suit the individual viewer (persons who walked out excepted).

    A warning: there is a 'looking for answers' but no real story. On a difficulty level, this film is much harder than Breathless, Le Mepris, or Vivre Sa Vie. It is warmer and more captivating than Weekend or Made in USA, but only just. Neither does it have the clear expository style of his last most recent well-known movie, Notre Musique. It has three main sections: 1 - scenes on a Mediterranean cruise ship ('Things'), 2 - a European family ('Our Europe'), and 3 - scenes of conflict and war ('Humanities'). Each seeks understanding to certain questions on an individual, interpersonal and political level.

    The first section held my attention the most. Inside the cruise ship is a plethora of "things" (if this was Godard of yesteryear, I'd maybe have written 'bourgeois distractions.') Only when we go outside, or see the light shine in, do we experience crisp photography, scenes of genuine beauty, and people spending their time at least trying to solve some of life's deeper puzzles. Perhaps this is just my own interpretation, but I like the way it is depicted visually. Money is a 'common good' – like water – but party-people onboard use it for nothing but bloated consumerism. Meaningless dance classes and revelry. As two people engage in philosophical discourse outside the main hall, a woman repeatedly falls against the glass partition. Is she dancing and letting her spirit free? Apparently not – she falls face down into the swimming pool.

    There is a young girl seen frequently with an old man. Something strange there? A hooker perhaps? A maybe rather a scholar or seeker of truth – availing herself of the rich variety of elderly experience onboard (a philosopher, a UN bureaucrat, a Palestinian ambassador, and so on).

    Characteristic Godardian effects are used with casual precision. There is no attempt at reality if it stands in the way of the point he is making. Such as when the background noise cuts out momentarily for the word 'happiness' to occurs in the girl's dialogue. Deliberate camera distortions emphasise an alcohol-sodden mentality of the majority of passengers, images often obscenely blurred, as if taken on a mobile phone. Or the mother in Section Two who talks to the camera about how she is totally unaware of the part she is playing.

    There are more hidden references than an afternoon of Tarantino movies. Except, unlike Tarantino's work, Godard is not entertaining pub quiz movie geeks; but giving clues to further meanings within his experimental and exploratory work. A young lad gives a young woman a copy of 'La Porte Entroite,' (a coming of age novel). There are nods to Husserl's philosophical geometry which fit the film but will need hours of study to fully appreciate (we see a projection of a man lecturing on 'geometry as origin' – to an empty auditorium). And Balzac's 'Illusions Perdues,' which anticipates themes of aristocracy vs poverty as well as journalism as intellectual prostitution. And don't miss the homage later to Battleship Potemkin's Odessa Staircase slaughter.

    Dialogue sparkles from witty – "The United Nations have been somewhat disunited since 1948," to surreal and Zen-like – "Once in 1942 I have encountered nothingness . . ." I'm quoting from memory and leaving the end of the quote for you to enjoy on screen.

    The individual's relation to government is addressed by the adolescents in the second Section, posing a difference between the State and Society. The dream of the State is to be 'one'; whereas the dream of the Individual is to be two, to 'pair up.' Aggressively intrusive foreigners demanding driving directions are given a cold shoulder ("Go and invade some other country!") An intrusive camera, making a documentary about a coming election, similarly distances everyone from any (inner) reality.

    Some of the phrases from Section Two bleed over into scenes of Section Three bloodshed. The young girl wants people to, "learn to see before learning to read." Godard's intertitles come fast and frequent, and in many different languages. At one point, a prayer in Hebrew and a prayer in Arabic are overlaid, visually and aurally. It recalls Godard's offhand response to the question, "Peace In the Middle East - when?" by replying, "As soon as Israel and Palestine introduce six million dogs and stroll with them as neighbours who don't speak, who don't speak of something else." Cinema is a remarkable opportunity sometimes to communicate without speaking those things which are often too difficult, or too sensitive, or simply whitewashed of their core by aimless chatter. Or by narrative movies.
    8lastliberal-853-253708

    What does not change is that there'll always be bastards.

    A Jean-Luc Godard double feature for me this evening. The first was Alphaville. This film, reported to be Godard's last, is a far cry from that.

    It was shot entirely in digital, and the colors are breathtaking. It was meant to be seen in the theater, according to Godard, but I had to settle for video. There are numerous technical "glitches" in the film, and they were meant to be there.

    Most of the film's text is in French with a smattering of German, Russian, Arabic, Hebrew, Latin, and Greek. Godard added subtitles in what he termed "Navajo English" at the bottom of the frame, which were as unhelpful as they were meant to be. The film is about a failure to communicate.

    This is one of those films where the critics are far more enamored than the general populace. It is considered one of the top films of 2011 - almost the top ten. The people would disagree.
    Michael_Elliott

    Keep the Remote Nearby

    Film socialisme (2010)

    BOMB (out of 4)

    How does one go about explaining Jean-Luc Godard's FILM SOCIALISME? I guess you could say that the director just throws at us various film clips. Some take place on a ship. Some take place in Egypt. Some just seem to be random shots of people walking around. Some are film in beautiful HD while others are filmed on what appears to be a very old cell phone. The subtitles are often full of mistakes. It could be that the words are put together to where it's hard to read them. It could be that the subtitles aren't really telling us what the characters are saying. Was there a point to this madness? I think there are two possibilities. One is that Godard wanted to drive people to suicide so he made this film. The other theory of mine is that he wanted to make a film so horrid that his followers would still rave about how great it was. Either way this here is a pretty worthless film and it's not that it's horrible because of a horrible filmmaker. No, it's horrible because the filmmaker knows he's making something that is nothing but a waste of time. The reason Godard does this is beyond me but sitting through this film is quite unpleasant and it makes one realize that this film is so bad that you couldn't even recommend it to those who love bad movies. I'm not going to lie and say Godard is one of my favorite filmmakers because he isn't. There have been highly respected films of his (like ALPHAVILLE) that I simply hated. With that said, I could see why some would be drawn to it. With this movie it's just pure garbage and I must admit that I find it funny reading so many reviews that call this a piece of art and one of the greatest films of the decade. Reading Roger Ebert's review states that Godard showed this film in a four-minute version by playing it with the fast-forward button on high. This here might have been the greatest idea the director ever had.
    6Ethan_Ford

    Surface glitter hides an empty interior

    It was eagerly awaited for years,the trailer which was the whole film in fast motion looked ravishing, and it seemed as if in this,perhaps his last film,Godard would deliver his final testament,a summation of all the themes which have run through his work for the last fifty years.From the beginning it looks absolutely stunning.In its high def cinematography the colours are gorgeous,the Mediterranean setting recalling that of Le Mépris ,but whereas the latter film was a profound meditation on European culture and civilisation,here the characters spout banal platitudes about politics or philosophy as the ship sails along past various cities; in the Spanish section there is a scene of a bullfight,in the Italian section a clip from a Rossellini film,it's that predictable.

    In the final section the film switches to one of Godard's favourite subjects,the daily routine of a family with young children who run a petrol station and have for no apparent reason a pet llama.Here finally the film shows some kind of rapport with its characters but it is already too late.Yet despite its faults it still exhibits all the hallmarks of Godard's style,the brilliance of his framing and editing,the crucial way sound plays against image,but the feeling persists that perhaps he has no longer anything to say.

    Argumento

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    ¿Sabías que…?

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    • Trivia
      The film did not include traditional English language subtitles for releases in countries that spoke such language. Instead, the subtitles were in "Navajo English", a translation that baffled many critics and audience members.
    • Errores
      Someone claims that Napoleon founded the Comédie-Française in 1812 in Moscow. Actually, it was founded in 1680 by Louis XIV.
    • Citas

      Rebecca (segment "Des choses comme ça"): [dialogue continuity] You're absolutely right: I don't love any "people." Not French, not North American, not German. Not Jewish people, not black people. I love only my friends... When there are any.

    • Conexiones
      Edited from El acorazado Potemkin (1925)
    • Bandas sonoras
      Mamita mia
      Performed by Ernst Busch

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    Preguntas Frecuentes17

    • How long is Film socialisme?Con tecnología de Alexa

    Detalles

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    • Fecha de lanzamiento
      • 19 de mayo de 2010 (Francia)
    • Países de origen
      • Suiza
      • Francia
    • Sitio oficial
      • Official site (Japan)
    • Idiomas
      • Francés
      • Alemán
      • Inglés
      • Italiano
      • Ruso
      • Español
      • Latín
      • Árabe
      • Bambara
      • Hebreo
      • Griego
    • También se conoce como
      • Cine socialismo
    • Locaciones de filmación
      • Grecia
    • Productoras
      • Vega Film
      • Office Fédéral de la Culture
      • Télévision Suisse-Romande (TSR)
    • Ver más créditos de la compañía en IMDbPro

    Taquilla

    Editar
    • Total en EE. UU. y Canadá
      • USD 42,925
    • Fin de semana de estreno en EE. UU. y Canadá
      • USD 4,526
      • 5 jun 2011
    • Total a nivel mundial
      • USD 222,079
    Ver la información detallada de la taquilla en IMDbPro

    Especificaciones técnicas

    Editar
    • Tiempo de ejecución
      1 hora 42 minutos
    • Color
      • Color
    • Mezcla de sonido
      • DTS
    • Relación de aspecto
      • 1.78 : 1

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