Cinematographic Territories of the Festival d'Avignon

A way of going further, to the essential, of favouring dazzling speed, of forgetting transitions. Or, on the contrary, a way of only showing the infra-ordinary, the unimportant, detail without meaning. Efficiency and offhandedness. The musicality of the writing and the rhythm of the film, increasingly composed like a score. The art of cutting, the art of placing two images side by side to cause sparks and change our way of conceiving the world, art, narration, thought. These features that characterise Jean-Luc Godard's cinema, with its wealth of over 150 films, is found in Olivier Cadiot's writing and in Christoph Marthaler's theatre. To such an extent that it became obvious: Jean-Luc Godard had to be present in one way or the other at this year's Festival d'Avignon. We will see his latest creation, Socialism Film, but also older films that still speak today, that are contemporary with ways of doing things today, notably The Chinese Woman, Bande à part, Notre musique, France tour détour deux enfants and Moments choisis des Histoire(s) du cinéma.