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The Revolution must stop at the perfection of happiness. The color of words. Meetings with filmmakers #4 Around Sound

Nicole Brenez


Monday 2nd October | 5:45 p.m.

Free admission while seating is available

The Revolution must stop at the perfection of happiness. Cinema, rites and anthropology of social gatherings

“The Revolution must stop at the perfection of happiness” is an apocryphal formula of Saint-Just, cited among others in La Chinoise, by Jean-Luc Godard (1967). It no longer reacts to the world, but creates another, invented one instead, which firmly corrects the shortcomings and injustices of the world we have. And to do so, one should get rid of this one from above: just as utopian literature and utopian philosophy exist, utopian cinema also exists, committed to preserving rites, moments or hypotheses of happiness, by creating modern pleasures or ecstasies thrown into all individual and collective mutilations.

The colour of the words. Meeting places with filmmakers  is an activity organised by the City Council of Santiago de Compostela in collaboration with NUMAX, with free access and free admission while seating is available. You can reserve your seat by contacting stating your full name and contact number.

  • Nicole Brenez

    Nicole Brenez teaches Cinema Studies at the University of Paris 3-Sorbonne nouvelle. She is the Director of the Analysis & Culture Departement at the Femis since 2017 and the curator of the Cinémathèque française's avant-garde film series since 1996. With the filmmaker Philippe Grandrieux, she produces the film collection It May Be That Beauty Has Strengthened Our Resolve, devoted to revolutionary filmmakers forgotten or neglected by the histories of cinema.

    Among her last publications:

    Cinéma d'avant-garde Mode d'emploi (Gendaishicho-shinsha Publishers, 2012)

    We support everything since the dawn of time that has struggled and still struggles.’Introduction to lettrist cinema (Moderna Muset/Sternberg Press, 2015)

    Jean-Luc Godard théoricien des images (La Camera Verde, 2015).