Jean-Luc Godard. His studio in Rolle now resembles a museum. Close-ups alternate with wide shots, voyeuristically devouring every object in the room: a pair of scissors, Bresson’s book on cinema and politics, the last cigarette stubbed out in a glass ashtray. Everything seems imbued with meaning once you’ve seen at least one of Godard’s films, yet it is the sense of presence that gives it completeness. “Resistance has known youth, it has known old age, it has never reached adulthood,” his words echo across time.

Aragno accompanied Godard (1930–2022) in the final years of his life, right up to his last days, and served as cinematographer on Goodbye to Language (2018). This walk through the creative epicentre of one of the New Wave’s most influential filmmakers and thinkers, seen through a cinematic gaze, is intellectually seismic. Aranjo himself calls  it “a micro-macroscopic journey inside the inner forest of cinema.”

Although Godard often addressed the symptoms of cinema’s death — particularly in Histoire(s) du cinéma (1988) — this work stands as a testament to cinema’s refusal to die.