Indian directors pay rousing tribute to French-Swiss filmmaker Jean-Luc Godard-Entertainment News, Firstpost

French-Swiss filmmaker Jean-Luc-Godard’s films have left a deep impression on Indian filmmakers. Onir, Samina Mishra, Rafeeq Ellias, Samarth Mahajan, and Rahul Roye discuss what they’ve learned from Godard’s contributions to cinema.

French-Swiss filmmaker Jean-Luc Godard, hailed as an iconoclast and a pioneer of French new wave cinema, passed away on September 13, 2022. he was 91 years old. French President Emmanuel Macron mourned Godard’s death, calling him a “national treasure” and a filmmaker who “had invented a resolutely modern and very liberal art”.

Godard built a reputation as a film critic writing for iconic magazines Cahier du Cinema before making his directorial debut in ab de soufflé (1960), known as I can not breathe to an English-speaking audience. He made over 45 films in his lifetime. Some of these are: une femme est une femme (1961), Le Petit Solda (1963), masculine feminine (1966), Tout va bien (1972), Prenom Carmen (1983), King Lear (1987), movie socialism (2010), Éloge de l’amour (2001), Adieu Au Langage (2014), When Le livre d’image (2018).

Godard’s work is also loved by film lovers outside of Europe and is taught in film schools in India. Some Indian filmmakers look up to Godard and imitate his style. In fact, the Kerala International Film Festival awarded him the Lifetime Achievement Award last year. Unfortunately, Godard was unable to travel to India to receive it due to the COVID-19 pandemic. Earlier this month, director Amartya Bhattacharya released his own film. Farewell GodardIt is the story of a man from Orissa who is addicted to pornography. One day he brings home a DVD. I can not breathe instead of porn movies. This mistake becomes his introduction to Godard’s film.

Rafique Elias, film director The legend of the fat mom (2005), I love you to death (2012) and if i remember correctly (2021) stated: We cannot recreate Godard any more than we can recreate his Sixties, when rebellion and radical idealism unfolded on the streets of the world, from Paris to Berlin to London to Tokyo and Calcutta. . Elias appreciates Godard’s ability to “dip into the influence of American gangster films and turn it into a French sensibility in Elan”. I can not breatheis now a classic and reminds us of “the timeless beauty of black and white.”

Samina Mishra, who produced documentaries such as Galmoher Avenue House (2005), Jaguriti Yatra (2013), and happiness class (2021) points out that documentary filmmakers owe a great deal to Godard. She credits him for making her think about “how to find the visual language” that best fits the story she wants to tell. Mishra said: Godard practice. “

Mishra believes that innovations that we now take for granted can be traced back to Godard. Whether it’s building narratives in a non-linear way, going free with the camera, or experimenting with moving using a fixed frame, she attributes them all to Godard. , which speaks of Godard as an unprecedented teacher, so this is not surprising. They learned from watching his work carefully, often repeatedly, and discussing it with their peers. Godard’s thoughts on cinema can also be found in books such as: Godard on Godard (1972) and Cinema: Cinematic Archeology and Memories of the Century (2005).

O’Neill made the movie my brother… Nikhil (2005), I (2010), and shabu (2017), introduced to Godard’s films when he was a student at Jadapur University in Calcutta (now Kolkata). “Godard had a deep impact on me because he broke rules and conventions. His madness had structure. I have learned that it is okay to deviate from

when he made the character my brother… Nikhil Speaking directly to the audience, he was drawing inspiration from Godard. He said, “I’m not as flashy as Godard, but I wanted the audience to know that they weren’t watching fairy tales. Many asked if it was a documentary and the style surprised them.

Samarth Mahajan, director of documentary films such as not reserved (2017) and borderlands (2021), came across Godard’s films at the beginning of his career. He was perplexed by Godard’s treatment of time and space and his questioning of continuity.

Mahajan says: I can not breathe It’s cut in such a jarring way, but that annoyance is so consistent throughout the film that it becomes the language of the film. When working with my editor (Anadi Athaley), I use jump cuts to indicate that time has passed and words have been spoken in the middle of a long conversation. “

Knowing that masters like Godard are experimenting with editing gives Mahajan the confidence to evolve a cinematic language that supports his storytelling. However, he often hears flattering feedback from broadcasters, distributors, and distributors who “have a certain idea of ​​what the compilation should look like.” Mahajan believes he considers the jump cut an “error” because he doesn’t understand the intention behind making certain creative choices.

Rahul Roye, who directed the short filmman and wife (2021) stated: To me, he has always been an unashamed philosopher, a political flashpoint, and a constant beacon of postmodern existentialism. Roy likes movies such as Vivre sa vie (1962), Bande a part (1964),Pierrot Le Fou (1965), and Ishi et Ayur (1976) praises Godard for standing out in an era that “stinks of restraints and algorithms” and that he “accepted his death in his will”. Mahajan concludes, “Long live cinema, long live Godard.”

Chintan Girish Modi is a writer, journalist and educator who tweets at @chintanwriting.

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