By Ray Pride

Kino Lorber Goes Godard In 3D




New  York, NY – June 30, 2014 – Kino Lorber is proud to announce the acquisition of all North American rights to Jean-Luc Godard’s 3D masterwork Goodbye to Language, after the film’s rapturous reception at its premiere at this year’s Cannes Film Festival.

Goodbye to Language was the co-winner of Cannes’ coveted Jury Prize and is slated for key festival play in the late summer/early fall. It will open commercially in New York City in late October, at the Film Society of Lincoln Center and IFC Center, followed by a national theatrical rollout on 3D screens. A digital VOD, home media and 3D Blu-ray release is planned for 2015. 

Further commenting on the film’s “deeply, excitingly challenging” character, The New York Times’ film critic Manohla Dargis added that it “offers up generous, easy pleasures with jolts of visual beauty, bursts of humor, swells of song and many shots of a dog, Roxy.”

Goodbye to Language also features never-before-seen 3D special effects. “[Godard] experiments throughout with the placement of entirely different images in each eye,” wrote Variety’s chief film critic Scott Foundas, “resulting in a series of strange superimpositions that almost seem to enter a fourth, unclassified dimension.”


The film was produced by Alain Sarde (Film Socialisme and Notre Musique) and Wild Bunch. The deal was negotiated between Kino Lorber CEO Richard Lorber and Carole Baraton, Head of International Sales at Wild Bunch. “To have the honor to release this ecstatically brilliant, career-capping film by the iconic Jean-Luc Godard leaves us appropriately speechless,” said Richard Lorber. “Goodbye to Language is nothing short of a beacon illuminating the future of cinema.”


Carole Baraton commented: “Working with Richard and his team on Goodbye to Language is a natural choice for us. Since the film’s premiere at Cannes, they’ve expressed incomparable enthusiasm and excitement about the film – and their distribution plans for the film are equally daring and exciting.”


Jean-Luc Godard has continually re-defined what cinema can be over his sixty years in the movies. He helped establish the “politique des auteurs” during his time as a firebrand critic at Cahiers du Cinema, and then upended narrative filmmaking with the French New Wave in his self-reflexive debut Breathless (1960).


The rest of the 1960s brought a dizzying series of innovative work, from his pop musical A Woman is a Woman to his evisceration of Hollywood in Contempt. The 1970s brought his politics to the fore, his interest in Marxist thought leading to provocative, knotty treatises on consumer society.  Every Man For Himself brought him back to narrative in the 1980s, or a semblance of it, and his work became more digressive and essayistic into the 2000s, anticipating the “hybrid” documentary/fiction films that dominate on the festival circuit.


Goodbye to Language is another advancement, fracturing the tale of an adulterous relationship into 3D – his first feature in the format (he also used it in the 2013 short The Three Disasters).


This “adrenaline shot to the brain” (Variety) follows a couple whose relationship breaks down along with the images, which in its second half takes a dog’s-eye view of the world. It is thick with literary quotation but somehow light on its feet, musing on history and illusion while Godard’s own dog Roxy prances in the park. “You could call it ‘Contempt meets Lassie'”, as Scott Foundas quipped in Variety.  It has the feeling of a final statement, but knowing Godard’s penchant for re-invention, hopefully it is yet another beginning.



About Kino Lorber:


With a library of 900 titles, Kino Lorber Inc. has been a leader in independent art house distribution for over 30 years, releasing over 25 films per year theatrically under its Kino Lorber, Kino Classics, and Alive Mind Cinema banners, including four Academy Award® nominated films in the last six years. In addition, the company brings over 70 titles each year to the home entertainment market with DVD, Blu-ray and VOD releases under its 5 house brands, distributes a growing number of third party labels, and is a direct digital distributor to all major platforms including iTunes, Netflix, HULU, Amazon, Vimeo, and others.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon