What may well strike viewers of and listeners to "For Ever Mozart" is to discover the extent to which Jean-Luc Godard, cinema's arch-jester and poet-in-chief, has given himself over to a work of choreography. Though he has often touched on the notion of mime, Godard's work has rarely come this close to that of a ballet master -of the ilk of a Pina Bausch or a William Forsythe. This slide toward corporal expression seems well nigh inevitable: Godard's chosen subject matter is war, the Bosnian war, in recent times the closest conflict we've known, both historically and geographically. But lest the spectacle of war become obscene, its victims had to be transfigured. Godard had to infuse their bodies with a poetic freedom. The characters of "For Ever Mozart" dance on a volcano; (...).
(Olivier Séguret - Libération)