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IMDbPro

Le livre d'image

  • 2018
  • Not Rated
  • 1h 28min
NOTE IMDb
6,2/10
3,2 k
MA NOTE
Le livre d'image (2018)
Regarder Bande-annonce [OV]
Lire trailer1:15
3 Videos
15 photos
DocumentaireDrameHorreur

Rien que le silence. Rien qu'une chanson révolutionnaire. Une histoire en cinq chapitres comme les cinq doigts de la main.Rien que le silence. Rien qu'une chanson révolutionnaire. Une histoire en cinq chapitres comme les cinq doigts de la main.Rien que le silence. Rien qu'une chanson révolutionnaire. Une histoire en cinq chapitres comme les cinq doigts de la main.

  • Réalisation
    • Jean-Luc Godard
  • Scénario
    • Jean-Luc Godard
  • Casting principal
    • Jean-Luc Godard
    • Dimitri Basil
    • Jean-Pierre Gos
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    6,2/10
    3,2 k
    MA NOTE
    • Réalisation
      • Jean-Luc Godard
    • Scénario
      • Jean-Luc Godard
    • Casting principal
      • Jean-Luc Godard
      • Dimitri Basil
      • Jean-Pierre Gos
    • 16avis d'utilisateurs
    • 93avis des critiques
    • 76Métascore
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 4 victoires et 6 nominations au total

    Vidéos3

    Bande-annonce [OV]
    Trailer 1:15
    Bande-annonce [OV]
    The Image Book
    Trailer 1:38
    The Image Book
    The Image Book
    Trailer 1:38
    The Image Book
    THE IMAGE BOOK - official US trailer
    Trailer 1:37
    THE IMAGE BOOK - official US trailer

    Photos15

    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
    + 7
    Voir l'affiche

    Rôles principaux23

    Modifier
    Jean-Luc Godard
    Jean-Luc Godard
    • Narrator
    • (voix)
    Dimitri Basil
    Jean-Pierre Gos
    Jean-Pierre Gos
    • Voice-over
    Anne-Marie Miéville
    • Narrator
    • (voix)
    Jacques Perconte
    • Après le feu
    Wallace Beery
    Wallace Beery
    • Un acteur
    • (images d'archives)
    • (non crédité)
    Jules Berry
    Jules Berry
    • Un acteur
    • (images d'archives)
    • (non crédité)
    Gaby Bruyère
    • Une actrice
    • (images d'archives)
    • (non crédité)
    Roberto Cobo
    Roberto Cobo
    • Un acteur
    • (images d'archives)
    • (non crédité)
    Jean Cocteau
    Jean Cocteau
    • Un acteur
    • (images d'archives)
    • (non crédité)
    Eddie Constantine
    Eddie Constantine
    • Un acteur
    • (images d'archives)
    • (non crédité)
    Danielle Darrieux
    Danielle Darrieux
    • Une actrice
    • (images d'archives)
    • (non crédité)
    Josette Day
    Josette Day
    • Une actrice
    • (images d'archives)
    • (non crédité)
    Douglas Fairbanks
    Douglas Fairbanks
    • Un acteur
    • (images d'archives)
    • (non crédité)
    Jean Gabin
    Jean Gabin
    • Un acteur
    • (images d'archives)
    • (non crédité)
    Jean Galland
    Jean Galland
    • Un acteur
    • (images d'archives)
    • (non crédité)
    Buster Keaton
    Buster Keaton
    • Un acteur
    • (images d'archives)
    • (non crédité)
    Jean Marais
    Jean Marais
    • Un acteur
    • (images d'archives)
    • (non crédité)
    • Réalisation
      • Jean-Luc Godard
    • Scénario
      • Jean-Luc Godard
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs16

    6,23.1K
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    Avis à la une

    8RosanaBotafogo

    Complex, very complex, different, very different, many images, few sounds...

    Complex, very complex, different, very different, many images, few sounds, a lot to say in few words, film clippings, reports, animations, war, pain, suffering, sometimes disconnected, but always very intense... First work by Jean-Luc Godard that I watch, and I started with the most subjective, profound and strange... "The world is not interested in Arabs and Muslims, while Islam has political attention." Is about. That, about generalization, about Islamophobia, generalization, xenophobia, wanting to silence a nation...
    7alvesmarceloalves-73751

    Godard's Minimalism and Reflections

    For years Jean-Luc Godard has been reducing his cinema to increasingly symbolic and minimalist layers. If in the 70s and 80s, his work already called attention to an "absence of script", which in fact was a text with broad lines that played for the improvisation on the scene in the following decades until the work of the actors began to be kept to a minimum.

    His films today are like collages of history and reflections on the subjects to which he have more interest: history and cinema. And the parallelism that one has with the other.

    The prolific director's newest work, "The Image Book" is the apex of his cinema of symbolism and collage. There are no actors. At most Godard's cavernous voice, today with 88, narrating the film is making reflections on the twentieth century, the new century, humanity, society, and, of course, the cinema.

    For Godard, cinema is the book of images of the twentieth century. Just as the Bible, the Koran and other religious texts are the basis for life in society and tell the story within their respective religions, cinema is the documentation of the history of modernity and contemporaneity.

    Through "The Image Book" Godard invites us to reflect on history. And it builds a journey through the twentieth century in an incessant collage of images and sounds that permeate the history of art in its most different forms. All divided into five acts, as five are the fingers of the hands, as five are the senses. Five is a number that runs through the entire film, as well as the metaphor around the hands and their symbolic meanings in each attitude.

    It is through this metaphor of the hands that Godard draws attention to a history constructed by the signs of body language. They are the hands used for love, but they also bring disappointment in the first act, the hands used for the violence of the second act or the hands that legitimize the use of force by the spirit of the laws of the fourth act.

    The first part of the film is a set of reflections of what Godard had already somehow talked about in other works like "Film Socialism" (2010) or "Forever Mozart" (1996).

    The last part is that it brings a Godard with a look at the Middle East rarely, or perhaps never before, shown so deeply. From a play on words stating that "Sheherazade would have told a different story in 1001 days," and not nights like the traditional story, Godard displays the bankruptcy of the west's gaze over the east.

    For him, we see the Orient as a unique cultural mass, and not as if each country had its own culture and worldview. In the same way that we look to the east as the mirror of what we are not. And this is reflected in the way the cinema portrays the Orient. It is when the hands arise in delicate movements, painted with symbols that we do not understand or hold tightly the Koran in his prayer.

    In a more controversial moment, Godard supports the bomb. Appeals to the positive side of the bomb. The bomb, he sees, is the revolution as it once was in Europe. It is the reaction of the oppressed. It is difficult to support this in times when Europe suffers so much from terrorist attacks. But it is possible to understand Godard's side by trying to show this as reaction rather than action. Hence the parallel with revolutionary movements.

    Godard is a genius. Often misunderstood, often seen as annoying and difficult to understand. But his film remains alive, thought-provoking and pleasurable for those who accept the challenge of trying to decipher it with each job.
    10carvalho-804-566126

    Great experimental film.

    This is a video essay that feels like a window into the precious collection of a videophile. Living legend, french director Jean-Luc Godard stamps here his mastery with his recurring topics and concerns. Very violent images dance with an adventurous collage of fine visual material, a result of a long time journey. I think the outcome is unbeatable and enjoyable if you are looking for new structures, like a jazz freestyle solo but with images and poetry instead of notes. It's a story about tragedy, revolution, the Arabic world, east vs west types of understandings and life itself.

    If you feel like watching it do it, but be prepare to face an unorthodox editing, sound level surprises, non causal argument and beautiful images of a tragic reality, the reality of humans and its imaginary.
    5horsebeaverfoxman

    Godard's at it again

    To be brief: With regard to Jean-Luc Godard's later work, what you get out of it depends entirely on what you bring to it and expect from it. "Goodbye to Language" nauseates me; I think it's unbearably pretentious, poorly constructed, and struggling for meaning. But I had some modicum of fun with "The Image Book." Granted, it's still montages layered on montages on montages, so it's dense, but it's still good, academic fun.

    Nowhere else but in late-era Godard can you find a reference to the beautiful Golden Gate Bridge scene from "Vertigo" moments after a shocking ISIS execution video. Godard lost none of his edge as a filmmaker, for better and for worse, and "The Image Book" proves he's retained his ability to shock and inspire audiences.

    The editing and voiceover are precise and hyperaware, with more wit and levity than "Goodbye to Language" brought, and the references are deeper-cut as well. I enjoyed the throwaway cut to "Kiss Me Deadly" as much as I loved his allusion to Buster Keaton. But at the end of the day, Godard's latest is simply too abstract, too formless, too high-brow to recommend to anybody. As much fun as I had, it went on for too long and had more non-endings than "Return of the King." There's a solid four or five minutes of film after the credits, as if Godard is begging us to leave the theater as he's laughing in our faces.

    But if you approach "Goodbye to Language" not only prepared but enthusiastic about what the director has to offer next, as I know many people were, you may well walk out of "The Image Book" claiming it's a masterpiece.
    10astghik_ghazaryan

    The best film I have ever seen

    This film is not for everybody, so if you dislike it, it's okay. But for me, this is really the best film I have ever seen. And I've seen Felini, Tarkovsky, Antonioni, Bertolucci, Haneke and many other great filmmakers. But GODARD IS THE GOD OF MONTAGE. Sometimes I even forget that he's 88 years old. I just can't imagine how the hell he does these kind of things at his age. This is my first review in Imdb. I just got registered, so I can write a review on this film, because everybody was complaining about how bad it was. I just realized I don't even have words to review. Sorry. This is it. At least I can tell you that you need to watch this before you die.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      The 45th and last feature film of French director Jean-Luc Godard.
    • Connexions
      Features L'arrivée d'un train à La Ciotat (1896)
    • Bandes originales
      Quintet with Piano, Op. 18
      Composed by Moisey Vaynberg

    Meilleurs choix

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    FAQ16

    • How long is The Image Book?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 15 novembre 2018 (Argentine)
    • Pays d’origine
      • Suisse
      • France
    • Sites officiels
      • Casa
      • Official Site
    • Langues
      • Français
      • Anglais
      • Arabe
      • Italien
      • Allemand
    • Aussi connu sous le nom de
      • The Image Book
    • Lieux de tournage
      • Tunisie(Some scenes according to Vincent Maraval)
    • Sociétés de production
      • Arte France Cinéma
      • Casa Azul Films
      • Cinéforom
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Montant brut aux États-Unis et au Canada
      • 94 153 $US
    • Week-end de sortie aux États-Unis et au Canada
      • 13 854 $US
      • 27 janv. 2019
    • Montant brut mondial
      • 132 015 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      • 1h 28min(88 min)
    • Couleur
      • Color
    • Mixage
      • Dolby Surround 7.1
    • Rapport de forme
      • 1.78 : 1

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