Amartya Bhattacharya’s ‘Adieu Godard’, in Odia and English, is a repository of Godardian playfulness: in terms of form as well as content

Posted on September 13, 2022


Spoilers ahead…

The film’s most beautiful thought is that art has the power to move you, even if it’s an art you’ve never been exposed to. Sometimes, if you give it a chance, the connect just happens. 

There’s one distinguishing trait about Ananda (Choudhury Bikash Das), who looks like he is in his sixties or seventies: he likes porn. “Like a medicine, it heals you from within,” he tells the man at the DVD shop that rents out these films. Look, again, at our protagonist’s name: Ananda means happiness, pleasure. So we think we are in for one of those quirky-funny narratives about old men behaving badly, given that Ananda’s fellow porn-addicts are also middle-aged or more. But Amartya Bhattacharya has other ideas. He’s the writer, cinematographer, editor, and director of what he calls a “humble tribute to Godard”. Adieu Godard cross-cuts between three storylines. The first, of course, is about those old men and porn. The second involves Ananda’s daughter, Shilpa (Sudhashri Madhusmita) and her friend Joe (Dipanwit Dashmohapatra). The third plot is the one that fractures the screenplay in a ruminative and talky fashion, i.e, a Godardian fashion: it’s about the (seemingly) present-day Shilpa and a filmmaker named Pablo (Abhishek Giri).  

You can read the rest of the review here:

And you can watch the video review here:

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