An innovative (if not necessarily successful) representation of the dialectic between ideology and action. Notable for the way in which it depicts an attempt to marry form to political function and it is the meta-analysis that is the most interesting aspect: the simple way in which the process of the film is the questioning of the process of the film.
An attempt to construct a film as a construction manual in the development of revolutionaries. The word that recurs most often is “Practice.” What is the practice but to question absolutely everything, particularly ourselves. Through practice we cover the same territory repeatedly, and each time a new layer is revealed. The practice is unrelenting. Revolution is necessary.
2.2 stars. 'Common People' > > > this. Desperately needed more queer fucking. I am absolutely confident that Godard has never been pegged. Really succeeds in making the revolution seem absolutely joyless. It is, to credit it on its own terms, ideologically rigorous - but it lacks the wit which made 'British Sounds' palatable. I'm not convinced this is actually self-critical - not compared to 80s Godard, certainly.
More cringeworthy awfulness from Godard and co. in a film that is described on IMDb as revealing "how and why a supposedly revolutionary Italian girl has in fact fallen prey to bourgeois ideology." Please spare me from the pathetic, at times laughable, attempts by a group of artists stuck in a state of arrested development as they attempt to show their intellectual superiority to us mere proles.
If the brazenly unkempt LE VENT D'EST was a fusillade, LOTTE IN ITALIA is dialectics in even impressionistic blocks (real formal lucidity), though its imperatives regarding grasping the "situation concrète" and devising modes of practice (praxis) lead more to a set of implicit questions than explicit answers; it doesn't exactly draw you a roadmap. Who is Groupe Dziga Vertov addressing? Mostly students, clearly.
A piece of televangelism which is difficult to appreciate outside its eschatological faith. The protagonist’s self-interrogation is propaganda for a process of becoming a party cadre, less an analysis than a grinding-down by repeating a catechism of received ideas, dismissing as “ideology” all but the party line.