Goodbye to Language 3D Blu-ray (2014) [Region Locked] [forced subtitles in UK]

[HDM_fan]

Can't wait for this to hit Blu-ray; sounds like it's quite a 3D visual feast.

[Taygan315]

Originally Posted by HDM_fan

Can't wait for this to hit Blu-ray; sounds like it's quite a 3D visual feast.

Wow...sounds very enticing. Thanks for sharing and posting a link. Going to have to keep an eye on this one.

[Richard--W]

Thanks for the alert on Goodbye to Language.

I'll look for it in the theater and watch for a 3-D blu-ray.

It's only 70 minutes, but duration never matters when watching Godard.

I'd forgotten he was still alive.

[levcore]

This sounds cool, thanks for the heads up.

[Dragun]

I really want to see this in 3D theatrically. Unfortunately that might be difficult.

http://blogs.indiewire.com/thompsono...guage-20141031

Why Theaters Are Refusing to Book Godard's Moneymaking 3D 'Goodbye to Language'
By Tom Brueggemann | Thompson on Hollywood
October 31, 2014 at 3:36PM

Despite the initial success of Jean-Luc Godard's 3D "Good-Bye to Language," the film has not managed to find bookings in key markets like Los Angeles, Chicago, Boston and Washington. And that means, despite strong reviews and now a strong start, its future for many potential viewers remains in doubt.

Goodbye to Language" grossed $11,448 in two New York theaters in its first two days after opening Wednesday. With a per screen average for $5,724, it beat films with far higher ad buys and advance theater bookings from companies such as Fox Searchlight ("Dom Hemingway"), Sony Pictures Classics ("Kill Your Darlings"), Cohen Media ("My Old Lady") and Paramount ("Men, Women and Children") over the past year. "Goodbye to Language" was topped by Weinstein's "Yves Saint Laurent"--just barely.

NPR's story on the film details the way Godard playfully expands the use of 3D with never before seen effects. That's why there's so much interest in seeing it.

Here are the reasons key big-city theaters aren't booking it.

1. It's a Godard film.
Exhibitors are shying away from Jean-Luc Godard and the challenging nature of the film, despite its Cannes pedigree and critical acclaim. It's just not a conventional film, it's different from what is normally booked.

Though Godard is arguably one of the most respected living filmmakers and by far the most influential over the last half century--recently earning a Governors Award from the Academy, who knew he wouldn't show up-- it has been decades since his unconventional, often experimental films have managed to make a significant dent in the U.S. market. The last Godard breakout was "Every Man for Himself" in 1981. The top gross of any of his released features in the last 20 years, "In Praise of Love," topped out at just over $250,000.


2. It's in 3D.
Distributor Kino Lorber enterprisingly handles many risky, challenging films, and its access to independent theaters, non-theatrical locations and its strong ancillary home video arm makes it an ideal home for this film. But Godard's history makes it a challenge for them to acquire even a limited number of appropriate 3D-equipped theaters. That makes it tougher for them to nab bookings at top arthouses around the country, particularly at this competitive time of the year.

Despite the mainstream acceptance of 3D on screens, the core art market, much of it independent, has had little reason to go to the expense of outfitting theaters (on top of expensive digital makeovers) for 3D. As a result, theaters in key cities like New York (Lincoln Plaza), Los Angeles (all the Laemmle-owned screens, Landmark's calendar Nuart), Chicago (Music Box) can't play the film.

The biggest 3D specialized film in recent years, Wim Wenders' "Pina" managed to gross $3.5 million. But distributor IFC had Oscar and other awards activity to boost its access, as well as a much larger footprint and precedent for playing top-end crossover theaters that often play the most commercial screens. And significantly, much of that gross came from 2D prints (which the older core specialized audience often prefers), while Godard insists (justifiably) that his film only be presented in theaters in 3D.

Los Angeles -- easily the second most important specialized market -- is not yet booked yet, showing the fragile state of access for critically-lauded and cinephile-interest films in today's market. With the Laemmle Royal and Nuart out of the question because of no 3D capacity, Kino Lorber has pursued two theaters that played "Pina" to strong results -- Landmark's flagship West LA theater and Pacific's Arclight Hollywood, but without success so far. The former is a work in progress and remains a possibility, while the latter so far has shown no interest per Gary Palmucci, Sr. VP, Theatrical Distribution for Kino Lorber. Other potential venues, such as Sundance Film Center's Sunset, are not equipped for 3D or unable to provide at least a full week booking. Such is the tricky state of presenting niche quality films in this key market.

Palmucci says that he has been bombarded with requests from local critics asking about screenings, and after A.O. Scott's rave New York Times review on Wednesday requests from interest from the "Bel Air circuit" (top filmmakers and executives) for their private screening rooms. Los Angeles -- like other top cities -- has a strong group of film buffs for whom Godard still is a big deal, and his acclaimed 3D effort likely pushes it to the highest level of interest in many years. And of course with its special process, unlike so many other films with overall limited appeal, it can only be seen for nearly all audiences in its intended form on screen at theaters rather than alternative venues, making it potentially, as it has been in New York so far, a potential successful date for theaters.

Kino Lorber does have its usual enterprising array of dates in other markets -- San Francisco opens at the Smith Rafael Film Center on Nov. 14, the Bell Lightbox in Toronto is set for a two-week run, the Walker Arts Center in Minneapolis is booked. Other markets like Madison, Cleveland, Columbus, Seattle and Miami will have at least limited showings ahead. But unlike other films with similar or lower opening grosses, many of the top markets remain unconfirmed.

It is understandable that Landmark and other key players have taken a wait and see position so far. Their top screens are under elevated demand as the fall upscale season is in full swing. They are not equipped on more than limited situations in 3D. Godard has become a rarefied, limited taste for first-run. But the lack of bookings in many cities so far shows that top exhibitors and their reliance on wider appeal, bigger campaign films can block the showing of more esoteric but still essential films, particularly when technology further limits their access.

[Todd Tomorrow]

Shame that this isn't playing in theatres, but I as only ever going to watch this on Blu-ray anyway and it's coming out on Blu in the UK in December.

From what i read I'm not even sure the film would work in 2D. He does a lot of wacky stuff by playing two different images for each eye and the likes.

[Dragun]

Originally Posted by Todd Tomorrow

From what i read I'm not even sure the film would work in 2D. He does a lot of wacky stuff by playing two different images for each eye and the likes.

Yes, it's a shame that one of the few 3D films that's actually pushing the 3D medium will hardly be shown here in the US.

If nothing else, I hope this film spurs more mainstream 3D filmmakers to do this try these kind of effects. It's not that every film has to do this, but merely giving us the View-Master effect that most 3D films give us is woefully underusing the format's potential.

[Dubstar]

Its showing next weekend at the Virginia Film Festival in Charlottesville - but unfortunately the timing of the screening conflicts with another movie I'm seeing that afternoon. That's very disparinging (sp?) to read that Kino is having problems booking this - I shot Landmark a Facebook message to see if they could book it, but I haven't heard back. My only other bet is that maybe the AFI or the Angelika might do a one off screening.

[Dubstar]

Since the film is a scant 70 minutes Kino should have waited, acquired and released this with the other Godard/Peter Greenaway/Pera three 3D short film trilogy "3X3D" ( its running time is only 69 minutes) and made it a double bill... oh well

[Richard--W]

This is really miserable news. I never thought I'd see the day when a Godard film couldn't get released.

American audiences used to turn out in large numbers for foreign films and demanded that the foreign film be screened in its native language with English subs. That's when film goers were intensely interested in foreign films. But audiences have changed. People no longer line up around the block to see a foreign film the way they did for Ingmar Bergman or Francois Truffaut or Jean Luc Godard. Foreign language films only play in a few major cities now, if they get released in the USA at all, and generally perform poorly at the box-office. In the mid-1980s I went to a repertory theater in San Diego to see double-features -- Persona with Hour of the Wolf, The Seventh Seal with Wild Strawberries, 81/2 with Juliet of the Spirits, 400 Blows with Shoot the Piano Player, a restoration of The Leopard, and each time the house was packed. Not many people would turn out for that today.

Godard is a living legend. His films have had a profound impact on culture all over the world. His importance to cinema can't be gauged in terms of nickels and dimes. It's tragic he's outlasted his audience.

[Todd Tomorrow]

Originally Posted by Richard--W

This is really miserable news. I never thought I'd see the day when a Godard film couldn't get released.

There already have been several other Godard films since the sixties which never got a theatrical release in the US because they were far too experimental and inaccessible for general audiences. When people hear the name Godard they think of his art-house classics from the 60s like Breathless and Weekend, not his barely watchable video experiments from the 70s or even many of his films from the 80s onwards.

[Dubstar]

got a tweet response from AFI Silver - apparently they aren't booking this either ... unreal - apparently a new Godard film in 3D no less isn't worth their time . If they aren't booking it, there's a slim to no chance that Angelika Mosaic or Landmark will book it either.

[Impossible]

Made it through 15 mins and turned it off. HORRIBLE!

Imagine a 3D student film by someone who'd never seen 3D before and you're close.

3D is a mess. Shot on HD shop bought cams. OVERLY strong to the point you nearly go cross-eyed.

M.E.S.S!

[Todd Tomorrow]

I watched this the other night and have to admit that like much later Godard I found it a chore to sit through and I'm no stranger to experimental film-making. He does push the 3D to its extremes which is probably the only interesting thing about the film, but that also means it's one of only two 3D films I've seen to give me a headache.

[Interdimensional]

Still haven't seen this, but just this week National Society of Film Critics gave it their Best Picture award. It just edged the Richard Linklater film 'Boyhood'.

[HDM_fan]

Hmm, very mixed reactions.

[Paul H]

April 14, 2015 USA release date.

[Dubstar]

Originally Posted by Todd Tomorrow

I watched this the other night and have to admit that like much later Godard I found it a chore to sit through and I'm no stranger to experimental film-making. He does push the 3D to its extremes which is probably the only interesting thing about the film, but that also means it's one of only two 3D films I've seen to give me a headache.

in the literal 'visual' sense or the pejorative sense?

this movie seems like it was made for critics and not the masses, Film Comment noted that a lot of critics dug this, but gathering from what I'm reading here and elsewhere - it's just really really odd.

[PLG1962]

Originally Posted by Impossible

Made it through 15 mins and turned it off. HORRIBLE!

Imagine a 3D student film by someone who'd never seen 3D before and you're close.

3D is a mess. Shot on HD shop bought cams. OVERLY strong to the point you nearly go cross-eyed.

M.E.S.S!

I made it to 10 mins and walked out Godard was good back in the day now imo he is to be avoided

[HDM_fan]

Doesn't sound like worth a buy if it's a snoozer; too bad.