I've had a love-hate relationship with Godard not only in the past but especially in the last month, but 2 or 3 Things feels like a whole different game to me. Not in the director's aesthetic approach or targets of society, but in his honest-to-God humanism on display here. I thought it might be the fact this film came out after Karina finally walked out on him, but Richard Brody's book notes that he would shoot this film in the morning while making Made in the U.S.A in the afternoons.

So forgetting armchair psychology, why does this film feel so radically more humane and practically gentle? The framing is tighter (2.35!) without feeling overbearing in visual background information, the film…

My tenth and least gratifying experience with Jean-Luc Godard, 2 or 3 Things I Know About Her is an abstracted diatribe about consumerist modernity corrupting the purity society has to offer (namely love, art, and knowledge), and its corrosion not only of civil morality, but its ability to seduce women in particular and make them whores—both figuratively and literally. 

Marina Vlady stars as herself and Juliette Jeanson, a stoic mother, wife, and casual prostitute who has pimped herself out to help provide a material life for her family. Insofar as I can discern, Godard believes sex workers and those who love are mutually exclusive—Vlady is a transactional figure regarding physical love, and Godard wryly depicts her heart incapable of being…

Godard, in a nutshell. This humorless little imp wreaks havoc on my sanity while simultaneously provoking me to question myself and the world around me. Indeed, the experience of watching this is a series of half-whispered barbs back at the screen: "fuck you, godard. that was brilliant, godard. what a pretentiously puerile concept, godard. i never thought of it that way, godard. you've stacked the cards way too obviously in your favor, godard. i can sympathize with that, godard. i get the point, godargh. you get me, God-art."

A string of half-baked ideas, or the most accurate depiction of modern society committed to film? Pick your poison. I refuse to take either side.

If you unabashedly love Godard, accepting his…

The thematic and cinematic follow-up to Une Femme Marriée (1964) was released in 1967, shot back-to-back with the lesser Godard Made in U.S.A. (1966).

The evolution of Godard from passionate filmmaker to serious artist has made a tremendously sized step forward. 2 or 3 Things I Know About Her is marginally better than its thematic predecessor Une Femme Marriée. Unlike Godard's tendency to become obsessed with the pulp culture of America and its destructive fundamentalisms - such as capitalism and the illogical logic of war - which resulted in a notorious detriment of his cinematic quality, he alternatively began to portray the impacts of these political, governmental and artistic ideas and tendencies of a progressively changing society in real people.…

"Me, in a word? Indifference."

Jean-Luc Godard's 2 or 3 Things I Know About Her is as slapdash an effort as its arbitrary title suggests. Its professed subjects are the consumerist refashioning of Parisian life and one woman's quest to keep up with the Joneses by becoming a fille de joie. Regrettably Juliette (the titular her) is embodied in an exceptionally tight and rather colorless performance by Marina Vlady, who was a seasoned actor perturbed both by Godard's unique working methods and by his resentment after she declined his proposal of marriage. The film features much of Godard's standard critiques of modernization but also introduces a recurrent motif bemoaning the Wittgensteinian epistemological chasm betwixt connotative and denotative understandings of language.…

Premier film du dessinateur Aurel, Josep traite d’un sujet très méconnu de l’Histoire de France : juste avant la Seconde Guerre mondiale, il existait des camps de concentration en France où on parquait les espagnols fuyant le Franquisme ! S’inspirant de la vie du dessinateur et opposant politique Josep Bartoli, Aurel met en lumière une page peu glorieuse de notre Histoire. Si on peut être un peu déstabilisé par le peu de fluidité que possède souvent l’animation et l’aspect volontairement grossier des dessins, ce film bénéficiant d’un casting vocal impressionnant mérite tout de même le coup d’œil pour son sujet et l’audace de raconter son récit à travers un flashback dont on peut longtemps douter de la véracité (le grand-père…

Une chose est claire dans mon esprit après avoir visionné ce film, je préfère de loin Godard lorsqu'il s'interroge sur la société qui l'entoure, sur le concret, lorsqu'il réfléchit presque à voix haute comme ici. en effet, dans 2 ou 3 choses que je sais d'elle, j'ai la sensation qu'il pénètre beaucoup plus efficacement certaines vérités, qu'il évoque quelque chose, beaucoup plus en tout cas que dans l'abstraction de la théorie politique de La Chinoise de la même année en tout cas. Lorsqu'il parle de la ville, Godard décrit avec la précision d'ethnologue qu'il revendique ce qui parait put être la pire monstruosité possible, c'est à dire ce parasitage permanent du langage. Par le bruit qui couvre les conversations le…