Calum Marsh: Now that Film Socialisme has been fortunate enough to finally receive a formal (if very limited) American theatrical release, the mainstream reviews are pouring in, and the results have been…well, not exactly effusive. What are your thoughts on how the film’s been generally received, Jordan?
Jordan Cronk: It’s funny in a sense. Coming out of the festival circuit last year, the film was pretty hotly tipped by critics and publications that I would consider authoritative: Johnathan Rosenbaum, Amy Taubin, Cinema Scope, etc. Hell, it sat at Number Two on Film Comment‘s best unreleased films of 2010 list. And now predictably, with mainstream critics getting a look at the film, the film is being construed as an affront not just to the senses, but to the cinema itself. Which is ironic, since this film, along with most of Godard’s ‘90s and 2000s work, is so obviously in love with the process of creation and the art form as a whole. I know this bothers you, as it does me, but is it fair to hold these opinions to the standard we do for some of the folks mentioned earlier? And does it even matter at this point, forty some odd years after general audiences stopped caring about Godard?