Jean-Luc Godard produced the Scénario du film Passion [Script of the Film Passion] just after Passion. After and not before, or in other words, he (re)traces the process of writing the film and its projection. Before speaking or writing, he attempts to see the script between the words, between the images and the sounds. Trying to see the gestures and movements, the actors who are themselves seeking their dialogue, their existence. And then finding, finding the night filled with light, the music, the people, work and love, finding the images, the cinema, finding the right image, the place where everything comes to pass, where everything happens one day. Godard, "on-beside-in" the blank screen of his dream to come, is the big boss of his little film factory. He speaks to us of his difficulty in saying what he has not yet seen, the part of reality which has not yet been revealed on the screen, Mallarmé's blank page, the blank page and its over-strong sun, the blank as a memory lapse. A dark shadow projected on the screen, "Véronique's linen" which retains a few traces of the world, he tells of the other film, like an echo, being made, the Passion according to Jean-Luc. At this precise moment, his work (if possible, both work and love) comes into play, the work which consists in seeing "the passage from the invisible to the visible" and involving the actor in this difficult phase. Taking as a starting point the great painters and the great musicians who have represented great moments of humanity, Mozart's Requiem, the paintings of Titian or Goya, desiring a piece of music, an image so that the film maker's "blind" gaze can open up onto history.

Stéphanie Moisdon