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The people in the black-and-white silent footage are walking, awkwardly jumping and gesticulating. The reason for this surplus comedy is hardware: films that captured the visible at a speed of 16 frames per second were projected onto the screen at a different speed – Godard’s “truthful” speed, 24 frames per second. The transition from “truth” to «truth” is marked by a light comic touch. Today, when you see footage of a falling missile, you notice its lacerated, spasmodic movement, as if reality and man-made weapons exist at different speeds: life moves smoothly, 50 frames per second, and death is captured with a reduced value. Even Jean-Luc Godard could not have declared the truth, measured by frames flying by in one second. Cut...