Film Catastrophe

In 2010, Film Socialisme by Godard explores the shipwreck of political ideals in Europe. In 2012, the Costa Concordia, which had served Godard as an allegorical platform, sinks in front of the cameras of passengers and the whole world. In 2018, Film catastrophe by Paul Grivas, looks at images of the disaster to revisit the film factory.

Nicole Brenez

Film Catastrophe comes to inhabit the interstices of Film Socialisme, reveal its architecture and clarify the stakes in order to expose its own. The film opens up the spaces between the images (video-surveillance screens, television screens, photographs), the spaces between sounds. With the extensive duplication of images and sounds that makes up the liner’s reality, Film Catastrophe brings into play its own theoretical narratives about images, the mise en abyme of cinema by photography, and challenges the story itself…. As a behind-the-scenes counter-reportage, the film confronts its own construction – built from lapses of images and language – with the televised reports of the sinking of the Costa Concordia. The film, which relies on the devices of ellipsis and fragmentation, prefers choreography and sketchily deployed actions to the jabber and insistence of conventional narratives.

Pascale Cassagnau