afilm a symphonie threemovements deathof language The above “sentence” would probably be the most appropriate way to describe French filmmaking legend Jean-Luc Godard’s latest (and possibly his last) film, Film Socialisme. The fragmentary and strangely juxtaposed words above are not only an (unsuccessful) attempt to describe an incredibly abstruse film, but it is also an attempt to do so in the film’s selected stylistic “language”: rather than traditional full-sentence subtitles, these are the type of words we see at the bottom of the screen whenever a character or narrator speaks. I can barely recognize only a few select words in French myself, but from what I can tell the characters, while often speaking esoterically in conversations motivated without typical movie-logic contextualization, rarely actually speak in fragments, but in full sentences. So the subtitles for non-French-speaking audiences are a deliberately obscuring selection of the words actually spoken, and they often arrive late in their juxtaposition of words spoken and occasionally seem to have no direct correspondence whatsoever. This is not to suggest that the unique subtitling in the international release of Film Socialisme somehow “obscures” non-French speakers from understanding the film’s meaning. In one sense, the film is incredibly difficult to follow no matter what language(s) one knows, but in another, the film’s meaning is plainly available in this multilingual wordplay.