In Praise of Love

2001 [FRENCH]

Drama

1
IMDb Rating 6.3/10 10 3128 3.1K

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Plot summary

Someone we hear talking - but whom we do not see - speaks of a project which describes the four key moments of love: meeting, physical passion, arguments/separation and making up. This project is to be told through three couples: young, adult and old. We do not know if the project is for a play, a film, a novel or an opera. The author of the project is always accompanied by a kind of servant. Meanwhile, two years earlier, an American civil servant meets with an elderly French couple who had fought in the Resistance during World War II, brokering a deal with a Hollywood director to buy the rights to tell their story. The members of the old couple's family discuss heatedly questions of nation, memory and history.

Director

Top cast

720p.BLU 1080p.BLU
905.8 MB
1280*960
French 2.0
NR
Subtitles us  
23.976 fps
1 hr 38 min
Seeds 5
1.64 GB
1440*1080
French 2.0
NR
Subtitles us  
23.976 fps
1 hr 38 min
Seeds 14

Movie Reviews

Reviewed by Red108819 7 / 10

One of Godard's most thrilling films

A lot to unpack here, for my money, the best cinematography Godard has ever shot up to this film in my viewing of his filmography; a movie that frame by frame is breathtaking, from the stark black white section to the beautifully heavy color saturation of the latter section. "In Praise of Love" is a meditation on love, the philosophy of love and, what is common in late period Godard, injecting these personal thoughts and opinions directly into the narratives and the dialogue of his characters.An exciting experience, in my opinion, one of the most essential films for any Godard faithful; I plan and recommend many rewatches. The DVD transfer is gorgeous but hopefully we see an HD remaster sometime soon.
Reviewed by Quinoa1984 6 / 10

there is poetry there, and lots of reflections on memory, but it's also one of Godard's most mixed bags

I heard many good things about In Praise of Love- and a few very bad things- so I proceeded with the same caution with most of director Jean-Luc Godard's later films. I thought that, at best, it could call as the grand 21st century precursor to Notre Musique, his latest film, which is one of his best in many years. But watching In Praise of Love is, in some ways, even more frustrating than his bad films because it's one of his better films as a director of scenery and compositions, of attaining that "Paris" mood with his lens. He also has some points here and there that are worth listening too. Unfortunately, a lot of them are also full of hot air, and practically border on being the senile rantings of a man past his prime- ironically a film that is meant to be all about memory, what it means to remember one's country, one's personal history, one's culture, and, if luck should have it, one's possible love. There's also an underlying bitterness to the proceedings too, and even when I heard and saw the sparks of poetry that made me remember seeing the films of his prime in the 1960s, there's also a good deal here that had me raising eyebrows.Maybe that was bound to be my reaction to it, anyway. After all, I'm not just another person walking this Earth, I'm a stupid American without a history who watched Hollywood movies that are, in reality, controlled by the government. At least, that's what Godard would say. And, as well, that because we're the United States of America, we don't really have a country anyway, unlike Mexico or Brazil or whatever. Why doesn't he just use his mouth-piece actors and call me "fatty fatty fat-fat" and get it over with? Ironically as well, this is a filmmaker who once said "there's no use having sharp images when you have fuzzy ideas." Well, a good deal of the ideas are fuzzy here. Though on the reverse side there are a few that are pretty sharp. Like when the character Edgar, the main link in the story who's in part one (the black and white filmed section) an auditioning filmmaker for his project and in part two (digital) doing research two years before, talks to a woman about thinking of something, but thinking of something else. It's much simpler an idea than a lot of the other semantics Godard floats around, and it's actually a good little speech. I also thought the old men (wait, is 'old' right according to Godard, or child, can't say) discussing their own pasts, and what it means for them, or what it doesn't mean. That it's still there for them, their own horrors and occasional joys, are enough.But what becomes all the more frustrating are the ideas that don't hold any water, or seem a little patched together from scraps of notes from Godard's ramblings out on the streets of Paris and, of course, by his long-loved beach scenery. What am I to make of the whole concept of there being no adults, or there being adults? Or the blank pages in the books (nothingness I guess, that memory of what's written is no more, I had no idea really). Or the not-too-subtle attacks on Spielberg? How do we know what Godard is saying to is really true anyway, because of the veneer and sometimes appeal of the documentary form? And what confounds me more is how at times, when the usual tactic of Godard's to do the overlapping conversations- this time in different languages in spurts- didn't bother me as much, as I found that to be an interesting way for Edgar to go about hearing things and experiencing people's words and memories for his 'project'. Unlike past Godard entries, particularly King Lear and Nouvelle Vague (1990), the poetry, if it is as such, in Godard's essay-form of film-making holds some water here, and there are a few passages that come along that are striking, that do connect with the splendid street photography and other set-ups.Nevertheless, it's still hard for me to recommend the picture, unless you're already a Godard fan and will check it out either way of what I say, because of the sense deep down of a cranky deconstructivism in Godard's messages, and unlike his best satires and experimental work doesn't have the balls to call on both sides (Week End had that best). So, France has a "real" memory and American doesn't? Why, because Shakespeare wrote half his plays there? I'm not against people who want to put some criticism to Americans *thoughtfully*, but when done in such a blunt, repetitive tactic, it becomes less like philosophy and socio-political discourse than it becomes more like name-calling and shallow, chronic dissatisfaction with any system outside of his own, albeit with some reservations there too. In Praise of Love is not one of Godard's worst, but it stops and goes in how it really connects, and at the end I wondered- aside from getting the shots of Paris and the countryside with his great DP, and the small bits of inspiration- why the hell Godard is still even making films anyway.
Reviewed by oso_travis 5 / 10

Whatever! But I want those 96 minutes of my life back!

Éloge d l'amour. Directed by Jean-Luc Godard. *1/2Godard has become a pompous and pretentious prick. I just laughed my guts out, reading other people's reviews and calling this piece of crap "A Masterpiece" and "The Best Film of 2001" What!? %$%$&%! You gotta be kidding me! Grow the hell up! You know it's crap don't deny it. What are you trying to achieve? To be recognize as an intellectual? Ha!The film is SO boring. Boring, boring, boring. I like slow-paced film but this one goes beyond my boredom scale. The film doesn't say anything and doesn't make you feel anything. Please avoid it, like the plague and save yourself an embarrassment. I beg you: Do not waste you precious 96 minutes on this trash! Stay away from it! Gosh! I regret so much the moment I walked in that theater... One of the worst films of the decade for sure. Godard: Please, retire and relief us from grief. Go to the beautiful Blue Coast but stop making films. If you do so, you will get my praise.5/10
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