Van der Keuken makes a world exist, he creates a reality. Describing then is not representing something that already exists but rather realising “a” reality. By creating forms, he creates a world of things that comes to life in our imagination. Herman does exist, as form. The good fortune Van der Keuken makes us part of is just that magical realisation of the world on the screen, where the inner suddenly becomes outer.

What is new in these posthumous films is the amount of access they offer into Godard’s working process, his thinking about films, and his working relationship to his collaborators in the last two decades of his life. There is a want to see these films as Godard’s testament, a personal statement on the fact of his impending death. Instead, one might take them for what they are, fragments of a future “that will never exist,” but which nonetheless point us in a different direction. Insofar as the problems to which Godard dedicated his life, artistically and politically, remain unresolved, they remain for us both the most pressing and the most generative.