Franchement j'ai rien compris. I tried to watch this movie in a relaxed state of mind and I didn't understand a thing so by the end I got extremely bored. Don't get me wrong, Godard is one of my favored filmmakers, Pierrot le Fou is arguably my favorite movie but this.. the dialogues make no sense, they're just random quotes, you need to do a lot of research before watching this in order to understand it.
Enticing the specator's aesthetic expectations by providing some exquisite pans and lateral shots across the gardens of a lakeside mansion, Godard elliptical intersections retain here an unusual flow as quotes and movements supply each other with visual and oral puns for reflection and repose. Deconstructing ingeniously the icon of the car as well as bourgeoisie's own illusions of seclusion it is a cinema diatribe.
Each character appeared to be out of one different book, living in one's own world and repeatedly quoting and jumping sequence to sequence. together with lots of references from other films which makes it a mess. There are good lines but overall too pretentious and painful to watch
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.
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.
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 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.
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).