The Tiger Manifesto

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Notre Musique, like many later Godard films, at first appears more interested in the texture and fell of its own cinematic “skin” than communicating any lucid narrative. Its first third (entitled Inferno), a montage combining documentary war footage and clips from fictional war films, welds the “true” footage to the “false” through scratchy filters and distortion. As the film progresses and a skeletal narrative alights–a story about a pair of women visiting an arts conference in Sarajevo–we enter the segment called Purgatory, which takes up most of the running time. In this city, where war is barely a memory, a Tel-Aviv journalist named Olga Brodsky interviews poet Mahmoud Darwish, playing himself. A pair of Native Americans tag along, delivering entreaties to be recognized, seemingly invisible to most. A Russian-born Jew, Olga Brodsky, spends much of her time creating a digital video of her time at the conference, leading…

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