Godard’s extraordinary, demanding and unremittingly brilliant film, largely mocked and reviled, too often ignored, increasingly inaccessible can act as a kind of metafilmic analogy for the activity in the rest of this volume: its status not as a film of King Lear but as a film about the fragmentary possibility of making – or perhaps more accurately, not making – a film of King Lear, creating for itself a remarkably complex status as critical commentary on the materiality of what it is itself in the process of (not) creating. The chapter offers some brief comments on its commenting as a way to begin to think back over, as well as forward and beyond, the accomplishments of this volume.