<rss xmlns:atom="http://www.w3.org/2005/Atom" version="2.0"><channel><title>Godard - vo.rs</title><link>https://vo.rs/tags/godard/</link><description>Latest from the Godard desk at vo.rs.</description><generator>Hugo -- gohugo.io</generator><language>en</language><copyright>This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.</copyright><lastBuildDate>Thu, 23 Jan 2025 10:00:00 +0000</lastBuildDate><atom:link href="https://vo.rs/tags/godard/" rel="self" type="application/rss+xml"/><item><title>Alphaville: Godard's Noir at the End of the Future</title><link>https://vo.rs/screen/alphaville-godards-noir-at-the-end-of-the-future/</link><description>&lt;p&gt;Jean-Luc Godard made a science-fiction film in 1965 without building a single set, hiring a single effect, or admitting for a moment that the future needs to look futuristic. &lt;em&gt;Alphaville&lt;/em&gt; is set in a distant technocratic city on another world, ruled by a sentient computer, and Godard filmed all of it in Paris — the real Paris, at night, using the coldest, most modern architecture the city had to offer. Glass towers, fluorescent corridors, motorway underpasses, the brutalist hotels going up around the edges of the capital: shoot them in high-contrast black and white, keep the camera moving, and 1965 becomes the year 3000 without a franc spent on illusion. The trick is so confident it comes round to profound. The dystopia is already here. Godard just had to point at it.&lt;/p&gt;</description><pubDate>Thu, 23 Jan 2025 10:00:00 +0000</pubDate></item></channel></rss>