New decade, new Godard. It's 'composed' by Godard, which is apt because he experiments with the sound. It also has visual tricks which tend to disengage the viewer. Lots of jokes about butt sex. I think of it as a starting point for some of his great films in the 80's. Unfortunately there's still a lot of misogyny going on. Huppert is great in a thankless role.
Okay, I get the message: Everyone is alone and selfish in the world, every man is a cold-heart pervert and every woman is a whore. Nice. The two stars are for Isabelle Huppert and Nathalie Baye, but not for Godard here (I admire some of his films, but not this one).
A central idea of post-modern thought: "reality" is a social construct! What we think and see remains a figment of our imagination if not acknowledge by others. Other commentary represented by the film includes. The objectification of women, the seizure of the modes of production and wealth by the bank and the corporation, the alleviation of loneliness by exacting an equal amount of abuse...
There's an air about this film of a director who is, essentially, throwing whatever he can together into some incomprehensible and unnecessary collage of pretentious fabrication, hoping that his "profound" meditations on something or rather pull together into some sort of cohesive whole. But god dammit if Godard doesn't do it with hypnotic, cinematic style.
Goddamnit Godard makes me feel so stupid but I just can't get enough of his work either. I can't stress enough how important the Criterion supplements have been for me in understanding these types of films from Godard, especially the visual essays. Also, this film pulled a Lost in Translation way before Lost in Translation.
With the revolution on indefinite hiatus, and nothing better to not do, Godard relents and resorts to his old tricks. The romantic marketplace, it seems, is open for business, just like all the others. You're going to have to seize your own day, so get out there and make some profit-maximizing choices already. But is that passion? Is it tragic? If not, what will it take? After all, every man dies for himself, too.
The only Godard film I have yet to see that I liked. I saw this as a teenager, and I hated it. I saw it again recently, and I found it very moving. It is (above all) a film about choices. The choices you make in your life. Do you choose to be free? Or enmeshed within the constraints of society? This is explored with the characters in the two settings: town and country.
At least ****1/2.... This one had a much more special meaning to me than it did on my first viewing years ago. It seems that Godard's cosmology, never laid out (definitely not here) so succinctly, or with such elegant simplicity, as in his later masterpiece NOTRE MUSIQUE, still holds, and is very discernible, in a huge swath of his later work: This one offers purgatory leavened by brief, exquisite hints of heaven.