Jean-Luc Godard's second feature film is a wonderfully refreshing romantic comedy. It is supposed to be a musical, but it isn't a musical in the traditional sense of the word. Music comes in brief, loud bursts, or is silenced so that the viewer pays more attention to the lyrics being sung.

As Godard's first colour film, he didn't waste the opportunity to experiment with colour, and used his colour schemes to their fullest potential. The costumes, lighting, and sets all explode from the screen in bright oranges, reds, purples, and blues; making for a very "kaleidoscopic" experience.

The best way to view A Woman is a Woman is to surrender yourself to the film and the quirkiness of the characters.

Continuing Godard's fascination with shitting on the fourth wall, this time in musical comedy form, comes his first cinemascope colour film. A unique and idiosyncratic work, as to be expected.

A Woman is a Woman features far less forced philosophy with much more delightful smug charm than his other films that i have seen, there are no intruding titlecards for the most part and speaking into the camera in poetic ramblings is reduced to few and far. Anna Karina is adorable, though i made the mistake of googling her and realizing women get old. Another ''anti-movie'' from Godard, but much more playful in its defiance. Which i ended up liking quite a bit.

A hugely interesting film, fascinating in its remarkable ability to tear a familiar genre down to its bare elements, inspect them thoroughly, and then cobble them back together to form an enjoyable film. A Woman is a Woman toys with the conventions of romantic films in an extremely playful manner, deconstructing the well-trodden formula to expose the deceit that lies behind these stories. Intriguing as it is though, Godard's film is too structurally loose, too theoretical, and—most importantly of all—too dramatically unengaging to be anything more than a curious exercise. It's well and good to take these characters as ciphers through whom to examine familiar plots and their construction, but I also need to be caught up in their actual relationship, something I never was. The ideas behind A Woman is a Woman engage my mind; without engaging my heart too, the impact is a little wasted.

Godard in the '60s is pretty much untouchable.

As always, Godard create an interesting and unique film - however, excess melodrama diminishes it.

A success of stylistic experimentation that is at once both odd & beautiful. Karina is charming. #see

This is how you do the romantic comedy at its most musical and exuberant. Quirky, but emotionally resonant, it doesn't get much better than A Woman is a Woman, where Jean-Luc Godard and Anna Karina create a world you want to live in.

Utterly unbearable; a mannered collection of scenes that, like most of the Godard I've seen, felt more like a lecture on ideas of cinema than a film in its own right.

Jean-Luc Godard's second feature film is a wonderfully refreshing romantic comedy. It is supposed to be a musical, but it isn't a musical in the traditional sense of the word. Music comes in brief, loud bursts, or is silenced so that the viewer pays more attention to the lyrics being sung.

As Godard's first colour film, he didn't waste the opportunity to experiment with colour, and used his colour schemes to their fullest potential. The costumes, lighting, and sets all explode from the screen in bright oranges, reds, purples, and blues; making for a very "kaleidoscopic" experience.

The best way to view A Woman is a Woman is to surrender yourself to the film and the quirkiness of the characters.

Right at the beginning, when Anna Karina breaks the fourth wall at the coffee shop and blinks to the camera, that's when my heart goes ownnn :3.