A template for these films: Goya's Saturn eating his children intercuts in stroboscopic fashion (with Gentileschi's Judith Slaying Holofernes), as Godard's voiceover is delivered with little more than a whisper, describing atrocities, the hypocrisy of governments not held to human standards, the horrors of war. Again, the relation of cinema to reality and fiction: we exaggerated these atrocities, the child was not tossed from pike to pike but merely bayonetted once, the village was not destroyed in a couple of hours but a couple of days. The complicity of French actors and filmmakers in the occupation; a train ride to Berlin to take part in a film project; the ruins of the war meant that the only national cinema of any value (Godard's axis is, as ever in this series, firmly Euro- and US-centric) was that of Italy--Rome: Open City was not made by those in uniform; a curiously sentimental montage of moments from neo-realism under a crooned Italian song plays things out. These episodes are much slower, more reflective than what's gone before.
Review of La monnaie de l'absolu
