IMDb RATING
5.7/10
2.9K
YOUR RATING
The passengers on a Mediterranean cruise enjoy their luxuries as a small family struggles with overbearing media attention.The passengers on a Mediterranean cruise enjoy their luxuries as a small family struggles with overbearing media attention.The passengers on a Mediterranean cruise enjoy their luxuries as a small family struggles with overbearing media attention.
- Awards
- 5 wins & 2 nominations
Agatha Couture
- Alissa (segment "Des choses comme ça")
- (as A. Couture)
Mathias Domahidy
- Mathias (segment "Des choses comme ça")
- (as M. Domahidy)
Quentin Grosset
- Ludovic (segment "Des choses comme ça")
- (as Q. Grosset)
Maurice Sarfati
- (segment "Des choses comme ça")
- (as M. Sarfati)
Nadège Beausson-Diagne
- Constance (segment "Des choses comme ça")
- (as N. Beausson)
Dominique Devals
- (segment "Des choses comme ça")
- (as D. Devals)
Marine Battaggia
- Florine "Flo" Martin (segment "Quo vadis Europa")
- (as M. Battaggia)
Storyline
Did you know
- TriviaThe film did not include traditional English language subtitles for releases in countries that spoke such language. Instead, the subtitles were in "Navajo English", a translation that baffled many critics and audience members.
- Quotes
Rebecca (segment "Des choses comme ça"): [dialogue continuity] You're absolutely right: I don't love any "people." Not French, not North American, not German. Not Jewish people, not black people. I love only my friends... When there are any.
- ConnectionsEdited from Battleship Potemkin (1925)
Featured review
Oh Please
Can we all get over the "challenging" provocations that this Film attempts to offer. Forgive a potential Agism, but in the spirit of class conscious critique: This is a sign of late Godard, complicit in his Bourgeois canonization, making ineffectual meditations on a a medium already robust, ubiquitous and politically affective. I'm speaking of course about Video. A previous reviewer mentioned Ryan Tracartin - This film is at least 20 years behind Ryan Trecartin's most trivial undergrad work. Godard mobilizing the distancing, alienating politics of a pseudo-left closeted Eurocentrist in order to promulgate a consistent dominance over "Art House" cinema. Honestly what the blood is this film? a further denigration of the kinds of education received in low income areas of the United States, Northern Africa, Southeast Asia and Eastern Europe? Who is this this film standing up for? and if it stands up for no one then why is this nihilism necessary? The fractured subtitles are absolutely insulting - There is no transformative translation ala Benjamin, no generative deconstruction, no Stein, no Saurraute , no performative language at all - we are left with nothing but masturbatory sloganism (and not a kind of sloganism which implodes on itself in order to critique a contemporary state of language, rather a sloganism which, with full self awareness, alienates all those accept for the most privileged, most geographically/economically/culturally entitled). This film is no "challenge" to its audience as the audience for late Godard is ALREADY educated, already leftist (or at least conventionally Liberal) already enlightened as to the ornate delicacies of high cinema and already aware of and experienced with cultural forms outside of the myopic mainstream. Therefore, this film seems unnecessarily difficult, a poorly informed cloying attempt at relevance in a digital age. The Film says nothing about its medium other than a tired Brechtian breaking of verisimilitude at the beginning (a fruitless technique, as video implicitly points to its own making(s) given its unmistakable and highly recognizable fidelity) and is years behind even the most the primitive works of contemporary video art. It seems Godard did not realize the impact that Histoire(s) du cinema had on the rest of the world, and that the rest of the world has taken something he helped to pioneer and ran far far away from beyond it. I can't help but feel that Harun Farocki already made this film in the 80s and it was far more innovative, "challenging", inclusive and all around less insulting than this ultimately apolitical irreverency. There is nothing about identity in this film and an absolute disregard for the filmmaker's own place of power in the discursive grid (ie, heterosexual, white, wealthy, Western, mutilingual, gendered male).
to the reviewer who in response to the fractured subtitles said "you should learn French!" - maybe in another lifetime free of inhibitory systemic inhibitors, financial constraint and economic-racial-historical determinism we could all take up this task of Eurocentric cultural Enlightenment, but for now I'll settle for at least a concession of legibility.
to the reviewer who in response to the fractured subtitles said "you should learn French!" - maybe in another lifetime free of inhibitory systemic inhibitors, financial constraint and economic-racial-historical determinism we could all take up this task of Eurocentric cultural Enlightenment, but for now I'll settle for at least a concession of legibility.
helpful•67
- WhatTheyDo
- Jan 10, 2013
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Details
- Release date
- Countries of origin
- Official site
- Languages
- Also known as
- Film Socialism
- Filming locations
- Production companies
- See more company credits at IMDbPro
Box office
- Gross US & Canada
- $42,925
- Opening weekend US & Canada
- $4,526
- Jun 5, 2011
- Gross worldwide
- $222,079
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