Truly a gorgeous work of art. This film possesses a « natural beauty » that i never seen before. I still trying to found out where they've seen the allegory about the film industry... (i know from Godard himself at 1990's Cannes...). It's clear that Godard believe will to power, money and sex spoiled art, human relation, communication and love. Nature and poetry trying hardly to resist to it. A true renaissance.
godard stages the same old story he's staged since breathless - man undone by femme fatale - but the film ruptures halfway through, and it becomes something else entirely: a hawksian comedy of re-marriage, filtered through centuries of prose, music, and image-making traditions, rendered somewhat ageless in the light of the country side. in godard's career, perhaps his only real love story (thus his most painful).
As far as an experimental film, it's fine. It just didn't need to be a full feature. It's similar to 'Wings of Desire' which was made 3 years earlier in the overlapping of voices. Unlike 'Wings' though, it's hard to keep track of who's saying what, or even if they're really even talking to each other. More like quotes from books, or repeating what other people are saying. Eventually you just go insane.
I still say late Godard's characters quote too much, reducing themselves to vehicles for hit-and-miss aphorisms. But as a filmmaker, Godard was brilliant well beyond the 60s, and he still had his eye on the big picture. This one, a fragmented allegory of love (or is it money?) where man and woman take turns struggling for dominance, is burned into my brain as a provocative, super-saturated vision. An endless loop.
The image track tells one story (involving characters who gradually swap dominant & submissive relationship roles) & the soundtrack another (dialogue consists almost entirely of literary quotations) yet both frequently intersect to create a rich tapestry of sight & sound that functions as an affirmation of the possibility of love in the modern world & that also serves as a curiously optimistic farewell to socialism.
I ponder Godard puts beauty on his images only to pessimise or sometimes despise them. Despite that they are still beautiful. Arrays and Disarrays of sound montages, and two hands grasp each other. Somewhere between <The Creation of Adam> and <Orpheus and Eurydice>.