Godard's best film in years. He again speaks in paratexts, only this time in slapstick fashion. Godard, the performer, is massively overlooked by critics. His self-fulfilling crisis on the end of cinema and communication truly started in JLG/JLG (1995), but it has never been as eloquent as the shrieking and stumbling in Prix suisse because them bones are giving out.
“It is as if Rossellini himself takes the spectator by the
hand to show him the building.” – Néstor Almendros
Rossellini’s last film is an exercise on camera movements and zooms. Ever true to his humanistic approach, Rossellini emphasizes the truism that art is a human development, whereas a lesser artist would have claimed cinéma vérité.