The Balkan wars of the 1990s had long troubled Godard. In 2004’s OUR MUSIC, a Dantesque triptych moving from hell (a montage of war imagery) to heaven (an idyllic island guarded by the US marines), the film’s middle section sees a fictionalized version of the filmmaker visit Sarajevo, where he teaches film students on the deeper implications of the shot/reverse-shot structure in cinema, and meets two young Israeli women: Judith, a journalist from Tel Aviv, and Olga, a melancholic student who muses with Godard on the theme of suicide in Camus and Dostoyevsky.
The Balkan wars of the 1990s had long troubled Godard. In 2004’s OUR MUSIC, a Dantesque triptych moving from hell (a montage of war imagery) to heaven (an idyllic island guarded by the US marines), the film’s middle section sees a fictionalized version of the filmmaker visit Sarajevo, where he teaches film students on the deeper implications of the shot/reverse-shot structure in cinema, and meets two young Israeli women: Judith, a journalist from Tel Aviv, and Olga, a melancholic student who muses with Godard on the theme of suicide in Camus and Dostoyevsky.
