Taking a page from the French trailer for Femme Fatale, an enormous amount of Godard's latest (but likely not its entirety), sped up to just over four minutes.

From Fabrizio Del Dongo, a poster of the same name, drawn from Stendhal, but on Vimeo, a 90-second edition of the idea.

Below, the original trailer for Socialisme.

"The most demonic, Satanic film I've ever seen," or so the triple Tivo-owning pastor of Seattle's Mars Hill Church, Mark Driscoll, would have you believe about the "Eastern garbage-ism" and "worldliness."

Writes Byrne, "Here’s the video for the Santigold track “Please Don’t.” We did a photo session for a magazine the other day, and I told the interviewer that on this song, by the time you get to the chorus, she owns it — she’s turned it into a Santigold song. Perfect. There are six of these videos that have been completed for this project. Most, like this one, use news and archival footage to, well, show that every word of the song is true! Most of the lyrics on this one are lifted gently from interviews and quotations — the “please don’t” chorus especially. At some point as first lady, Imelda began to feel that she could help Philippine interests by charming world leaders into seeing things her way. “Handbag diplomacy” she called it — as she liked to imply that to solve a problem, she could bypass President Marcos and just grab a handbag and hop on a plane with some of her assistants. It sometimes worked! There was, for example, an Islamic-backed insurgency rising in the south of the Philippine archipelago, and she thought that a leader in that part of the world, Qaddafi in this case, might help pull the plug on that support if he saw things her way. Apparently he did — the funding stopped and the insurrection lost momentum, and she later described him as a pushover, a mama’s boy."

That was unexpected.

Lynton said he was not asking theaters to stop selling popcorn, soda and candy. “Audiences love them,” he said. “I’m just talking about adding some healthier items to what you already sell.

“In order to turn the tide on the obesity epidemic we are going to need to make soup to nuts changes in the number of calories we take in and the calories we actively use. Because kids are eating and foraging at home, school, sporting events and at the movies, changes are needed everywhere," said Dr. Neal Halfon, professor of pediatrics, public health and public policy at UCLA and director of the UCLA Center for Healthier Children, Families and Communities. "We can’t expect kids to make healthy choices if they aren’t given healthy choices to make. And while this is a nationwide problem, and will require support from companies with a national stature like Sony Pictures and large theater chains, it will also depend on the ingenuity and commitment of local theater operators to make the difference in their communities.”

In a videotaped message to the convention, Dr. Mehmet Oz, vice chair and professor of surgery at Columbia University and host of The Dr. Oz Show, said, “"Everyone enjoys popcorn and a soda at the movies, but there are healthier alternatives. Good nutrition doesn't mean eating spinach at every meal. But with so many children and teens going to movies so often these days, I think we've got to be mindful about what they're eating and drinking, and giving them the chance to choose healthier food makes a lot of sense."

Lynton said theater owners should consider taking this step because childhood obesity is an epidemic, it’s the responsible thing to do for audiences and society, and it’s good for their business because it would help families enjoy theaters even more and, by giving them healthier options, more snacks will be purchased.

Regarding what kinds of snacks might be offered at theaters, Lynton said, “I don’t think giant tubs of spinach or broccoli’s a good idea. And nobody wants to eat cauliflower while watching Spider-Man, or drink a 40-ounce cup of prune juice.”

He said moviegoers suggested to the studio’s interviewers the kind of snacks they’d like to see:

· fresh fruit, fruit cups, apples with dip;

· veggies with dip;

· yogurt;

· granola bars and trail mix;

· baked chips, apples chips and unbuttered, air-popped popcorn.

Lynton said some people sneak healthy snacks into movie theaters, like a granola bar or a box of raisins, which represents an untapped market for concession stands. “People are consuming food differently these days. In fact, many of your theaters are located near Starbucks and Whole Foods and in malls and other places where consumers are now finding more nutritious food and beverage options. Audiences would love both a great theatrical experience and terrific snacks.”

Lynton said employees at Sony Pictures are offered a subsidized healthy lunch special and expanded salad bar at the studio commissary. He noted some theaters are moving in the direction of offering healthier foods; some use canola oil instead of coconut oil for their popcorn. He also said he understands that some things “will prove to be logistically or economically impossible…But even small steps in the right direction can have a big impact.”

"Last year, 17,000 feature films were made, so even on a good Sundance year, even back in the good ol' days, when a hundred films were bought, there are still 16,900 films that aren't bought... You can't think anymore think you're going to sell a film... Hello? Haven't you been reading jack-shit for years?" More straight talk ahead.

Jean-Luc Godard (3'26"). There's more video at the link, including from Chabrol and Barbet Schroeder, if you follow French. There's a collaborative attempt at translating the narration at The Auteurs; the intertitles are names of Cahiers du Cinema essays by Rohmer.

Craig Keller translates a lovely thought from coverage of the event in Les Inrockuptibles: "the shock of the evening came with the unveiling of a small film by Jean-Luc Godard created for the occasion. Over a black screen, the titles of Rohmer's most famous articles from the Cahiers appear one after another. In voice-over, Godard evokes images pulled from the ether: two young friends, speaking to one another through the night; the same pair in the kitchen of one of their mothers, making food, going back and forth discussing films... Rarely have we heard Godard speak of such personal things, very simple and very exposed. The film closes with a furtive shot of the filmmaker, face slightly haggard in his webcam. With that, he's gone. You want to hold onto him. You want to hold onto both of them."