Sixth session of the film programme Modos de Rever: História(s) da Arte no Cinema, conceptualized by Isabel Lopes Gomes. This session will start with a brief presentation, preceding the screening of Jean-Luc Godard's ""Passion"" (1982) and ""Scenário du film 'Passion' (1983), which will be followed by a conversation between the filmmaker, professor and essayist João Mário Grilo and the professor and researcher Rita Novas Miranda, moderated by Isabel Lopes Gomes.

20 JUL | SAT | 5 PM

PASSION

Jean-Luc Godard | FRA | 1982 | 88'

Out of the Dziga Vertov Group, Jean-Luc Godard ventured through a more narrative approach - never to return. Passion follows a film director inbetween recreating famous paintings to the shooting of his current film, and to deal with two love affairs (one with a factory owner's wife, another with a factory worker). By working under dialectical notions of editing, Godard fills in contact points but also oppositions, between cinema and painting, two desire-characters, two distinct narrative strands and, crucially, two types of passion, between love and work. Passion is one of the clearest examples of that ""emotion"" Godard so often insisted, especially in its relationship with art: "Sometimes one has to film emotion, to fill the screen with pure emotion. Only painting and music can achieve that" (Cahiers du Cinéma, 1982).

SCÉNARIO DU FILM 'PASSION'

Jean-Luc Godard | FRA | 1983 | 54'

Scénario du film 'Passion' remains a groundbreaking work on the relationship between cinema and video, as it is one of the first (and most successful) attempts fom Godard on video. Essentially a way to watch his previous film "Passion", "Scénario..." transcends the mere filmic report on the construction of a 'screenplay'. Aligning himself with Pasolini, in the notion that a screenplay is ""a structure that wants to be another structure"", Godard exposes the apparatuses and the dispositifs to build a meditation on all processes that give an audio-visual form to a script: in his words, to "turn visible the invisible" or to "make possible what is probable". As Danièlle Huillet stated: "This is mostly a work about failure and there are many things I disagree with, but it might be Godard's best film.”