Challenging but unfailingly gorgeous, this 2010 feature achieves one of Jean-Luc Godard's greatest ambitions: to reclaim political agitprop as the stuff of symbolist poetry. Like T.S. Eliot's The Waste Land
, it's designed as a Tower of Babel, with dialogue in several languages (the comically stripped-down English subtitles, which Godard calls "Navajo English," won’t make things easier for monoglots) and allusions to politics, history, art, and philosophy. Beneath the imposing structure, though, is a simple, eloquent plea for humanism amid the fractured culture of the 21st century. With characteristic perversity, Godard shot this "film" in a variety of digital video formats, and he seems invigorated by the postcinematic landscape (especially its utopian social aspect), finding classical beauty nearly everywhere he looks. At 79, Godard has again made a young man's movie.