Of course, in front of such a cutting-edge experimental work, instead of trying to find its meaning, definition, and definite direction, you might as well be empty and simply face it. An experience of direct perception. After all, on the one hand, this film is completely free from all the established image formulas and audio-visual experience; on the other hand, the gorgeous, messy, dazed, dazzling and displaced in the digital age, but also in the sound and picture of the irony and poetry. Present.
Use illusory intentions to refer to real things, or on the contrary, the illusion and reality are intertwined. On another level, it is not so much a goodbye language, it is more like goodbye to human beings. As a voiceover said: "You give up everything, take another step, give up freedom itself, and everything will return." Of course, such a free soul surpasses everything. It should also be eternally sensitive and sharp. Film language, language, rules, human common sense, and behavior are no longer meaningful to him, just so capricious.
Just as there is no need to deliberately interpret a kind of installation art, or even judgment, if you can't integrate the feeling of resonance, it just means that you and the creator are not a dimensional thinking mode, and there are no more comparisons, presuppositions and conclusions. In "Goodbye Language", the scene is broken, the lens is sometimes bright, sometimes chaotic, dazzling, irrelevant, extreme dislocation, meaningless language, a period of poetic drifting, a period of lens upside-down and chaos, a period of irritation and screen flicker, color Kaleidoscopic, or black and white, with no rules, only rhythm, emotion, and rationality behind the scenes.
The film’s narration inherits Godard’s existentialist and leftist political style in the 1970s, the so-called "not to make a political film, but to make a film politically." Even if you have touched the essence of a kind of superficiality, you have not been able to say goodbye to the words completely at the same time when you speak your ideas. The soundtrack that popped up suddenly, talking about totalitarianism, planned economy, state machinery, capitalism, exploitation in the peaceful age, talking about Machiavelli, Solzhenitsyn, Bismarck and Hitler, talking about nuclear energy, genetically modified organisms, nanotechnology, advertising Propaganda, terrorism, saying that our peace is no different from launching war. To say that the world is a huge lie. And said to go to the United States to get some cheap garbage. And the person holding the iPhone said that you check Google, saying that we were caught in the palm of the hand by this monster.
The image level is the combination of various clips. For example, we can take an iPhone or other mobile devices to take a video at any time, similar to the real-time short video of Moments. Unscrupulously shattered the rules of film language. One by one shows the physical and mental stimulating experience of technology, digital, network, and mobile devices. And the most eye-catching and peaceful clips are always about a dog. With the most comfortable posture, it is constantly interspersed inside and outside the lens-rolling in the snow, running in the grass, drifting down the river, as if reaching Another free shore.
It's more authoritative than ordinary author movies, and it's more freely and horizontally, without scruples. All of these are still the lifelong traits of Master Ge, and his irony of the times and the current state of the media continues the old and spicy expressions of "Film History" and "Socialism" in recent years. His endless innovation, abandonment, and destructive transformation of film language, at the same time, it also integrates his consistent attitude to the audience's excitement, torture and never caring. He even often said to the audience: "You people come too much. What brings you here? What are you doing?"
Obviously, today, through the endless brainwashing of the mass media, it is no longer possible to reshape the viewing experience. Just as human beings have acquired language and experience, it is no longer possible to obtain a truly free soul. With the irresistible Hollywood-based film narrative language one-sided, the soil for accepting Godard's alternative expression gradually disappears and will eventually disappear. But the film says as if it were a declaration: "We must go to the end, before that we must live". It may be gratifying that the experimental spirit is not old, and an era may not be completely over.
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