“I wasn’t sick, I was just exhausted. He had made the decision to end. It was his decision and for him it was important that it be known, ”said a close friend of the director Franco-Swiss Jean-Luc Godard confirming to the French newspaper Release that he director from Breathless he was euthanized in Switzerland.
His wife, the filmmaker Swiss Anne-Marie Miéville, and her producersexplained in a release that “he died peacefully at his home, surrounded by those closest to him.” They assured that there will be no ceremonies and his remains will be cremated. To honor him, his cinema.
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Creator of “a cinematography that reveals itself before the conditions of the world”, as defined by Hugo Villa, director of the UNAM Film LibraryGodard went from being a critic who founded the magazine cinema notebooksto a filmmaker who laid the foundations of cinema end of the 20th century, when it was barely halfway through.
“It picks up a bit of the spirit that Italian neorealism had already been raising, of building stories from much closer realities, with smaller and more agile financial, technical and practical resources, and what it does is that unlike the cinema maybe a little melancholy italian neorealismis to rebel, rise up with a proposal that is also ideological in its cinematography”, Villa abounds.
Godard was “the most ideological and also the longest-lived” of the movement that founded the cinematographic movement of the new wave (French New Wave), along with other young filmmakers such as Éric Rohmer and François Truffaut.
“He was always ahead of the game, especially in technical matters, he worked in Super 8 format when he was just starting out, later in digital and lately he had made his movie in 3D and was working in 360 degrees. He was a very important man for the cinema of the last 60 years”, says in a separate interview Nelson Carro, Director of Programming and Dissemination of the National Cineteca.
“It totally changed the way of conceiving cinema in the 60s, there were ‘new waves’ in practically the whole world and although not all of them were influenced by the French, in any case, the new French wave remained as the center of that scene ”, adds the also film critic.
cinema for dissatisfied
Radical and revolutionary, Godard leaves behind the legacy of rupture and resistance. Their cinema it is the revolution in language and content, says Gerardo Gil Ballesteros.
“Is it so buildings it is a line of insubordination that always denoted nonconformity towards the canon. Pierrot the madfrom 1965, contempt from 1963, Every man for himself of 1989 –a bold work even today–, for alfahavs of 1965 that bets on gender hybridity and that seems to be formative for many filmmakers”, points out the film critic of this publishing house.
“We know classics like the picture book, goodbye to language, a socialist filmbut he filmed more than 80 filmsCome in shorts and documentariesHe was a man for whom filming meant living, at least every six months,” says the director of the Filmoteca.
Hugo Villa abounds about his extensive work that “he began to shoot his first shorts around 1955, which we consider his great works, such as At the end of the escape Y Breathlessaround 1960 and around 1965, Pierrot the fouall hand in hand with this actor brilliant, Jean Paul Belmondo”.
The director of film library recalls the famous anecdote of the emergence of the Directors’ Fortnight, a parallel section of the cannes film festival: “Godard leads a small revolution in the festival of cannes cinema in 1968, in which the filmmakers hang from the curtains of the main theater and go on strike, in continuation of the social movements that were overflowing the streets in France”, the protest against a lack of representation of the working class in the festival films, led to the creation of a parallel event.
Villa remembers another closer anecdote. “A couple of years ago in the International Congress of Film Archives in Lausanne, SwitzerlandHe was given a recognition, which consists of a can of movie made from silver that is recovered in the Filmoteca laboratory and he was seen to be very active, the conversation was very full of ideas, of construction, of a way of continuing to see life”.
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Meanwhile, Nelson Carro adds that Godard was “the filmmaker which broke more radically with the cinema previous and someone who throughout his career was very faithful to an end that is closer to the essay than to the narrative. He has a lot to do with the post-war spirit and what comes after, ’68, youthful disenchantment”.
This weekend at the Open Air Forum of the film library the restored version of Live your life and in October it will release the restored copy of Male Female. The film library will program a tribute to the “young man of nine decades” as described Gil Ballesteros“a clear example that cinema should be an art of rupture and above all for non-conformists”.