Cannes Film Festival 2024: Presentation of the film announcement of the film “Scenario” (Jean-Luc Godard, Cannes Classics)

Cannes Film Festival 2024: Presentation of the film announcement of the film “Scenario” (Jean-Luc Godard, Cannes Classics)
Cannes Film Festival 2024: Presentation of the film announcement of the film “Scenario” (Jean-Luc Godard, Cannes Classics)

Presentation of the film announcement of the film “Scenario”where Fabrice Aragno films Godard going through one of his illustrated notebooks, follows in the wake of a little-known medium-length film by JLG, Amateur report (exhibition model), in which Anne-Marie Miéveille showed him already detailing a project in progress (an exhibition at the Center Pompidou, ultimately abandoned in this form). The big difference with Film announcement of the film that will never exist: “Funny Wars”, with which he shares motifs (notably these pages where quotations from texts and collages of printed images are juxtaposed) is due to the unique place that Godard occupies in this video, shot a year before his death. He radiates, through his humor and his slightly “goofy” clumsiness, a film in which we observe him writing, drawing and wiping at the same time, cigar in mouth, imprecise instructions: the “ we are sure » are added to the “ we’ll see » and as many “ maybe… », to the great dismay of Aragno and Jean-Paul Battagia, installed on both sides of the office. JLG is the main actor ofExposed…: his hands often occupy the frame to guide the collective reading, while his face, shaggy and marked by time, opens the film.

There is indeed a lot of talk about “openness” in Exposed. Not only is it the name chosen for the first part of Scenario, as indicated on the first pages of the notebook, but also the principle which governs the entire film. It is about opening the book, the mind and at the same time the images, freeing them from the screens which imprison them in narrow shackles. Playful, the approach also recalls the extent to which Godard’s cinema is a sort of open Source code (by reusing extracts without authorization, JLG was himself a proven supporter of piracy and the culture ofopen Source), far from the exclusionary elitism with which it is sometimes associated. If juxtapositions make sense with regard to his recurring obsessions (television, great stories, the diktat of narration and the history of cinema), it happens that a fragment presents itself without explanation, leaving us the possibility of understanding it. seize freely. Spontaneously and with humor, JLG justifies, for example, the use of a quote from Merleau-Ponty on the visible and the invisible as a way of completing one of the passages from Scenario on ” a somewhat mysterious conclusion “. Same story for certain illustrations at the end of the notebook, which according to him “have not no particular meaning “. Elsewhere, a cropping on an impromptu scissor cut (when the filmmaker narrowly misses “ screw up » the work, dixit Battagia), Exposed highlights the playful side of Godard’s work, who demonstrates both great precision and unfailing flexibility, constantly breaking his own rules. JLG combines images like a scientist or a child inside a rudimentary laboratory: a printer, glue, scissors, and now a film can see the light of day. Then you just have to turn the pages until you remember the quote from Aragon in Hail, Sarajevowhich we think of when faced with Godard’s latest images: “ When we have to close the book, it will be without regretting anything. I have seen so many people live so badly, and so many people die so well. »

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