Socialism is apparently going to be Godard’s last film. He recently released it sped up, compressed to under five minutes. Here’s that version.

My impression of my limited experience of Godard’s canon is that his films don’t do enough to attack language. Having both language and pure image* in tension help each to throw relief on the other, but I’d like to examine that which cannot be said.

It’s similar to the problem of filming the invisible, but feels almost opposed to it.

* It’s possible this doesn’t exist — “film” is a language too, and the established exchange rate is one image to one thousand words.