How a conversation would look if your parents spoke like parents in a Godard movie: 

Son: hey mom can I borrow th...

Mom: What does it mean to feel emotions? Washed away like this seashell, Syrian refugee crisis.

Son: I uh...

Mom: The face is like a landscape, what emotion do you show? The Berlin Wall. 

Son; I really need to borrow the car for...

Dad: Objects mean more on a plane than people, why must a vehicle exist more than your loving parents? Fascism.

I can't figure out if I liked this film or just liked the idea of it. I like what it is trying to do, on paper it seems like something I would love to see. Godard tends to get too overly philosophical thick and fast and whilst I do see the sparks and I do see myself being entranced by the madness too much of it just doesn't stick, and he's just so heavy-handed with it all. Sometimes it just feels like the type of shit you toss back and forth with your friend at 3am in the morning after too many beers, and right now I'm way too sober for your shit, Godard.

Two or Three Things I Know About Her is a movie that perpetually feels like it’s in contrast with itself. It’s aware that it’s got a duty to show particular things for the sake of narrative cohesion, but instead, it chooses to participate in a celebration of the ideas that are an extension of them. It’s one of three movies that Jean-Luc Godard released in 1967, and seems to have developed out of primal anticipations and a particular frame of mind. It additionally feels like a transitional period in Godard’s career, uniting the themes and moods of his earlier work with the anti-Americanisms and revolutionary politics which came to monopolise his attention. It indeed asks some searching questions in an original manner, with references from poetry and a general philosophical approach to culture.

Life is/as signs and signifiers - how do you know if you are 'living'? "Do you know the difference between true and false love? False love is when I remain the same. True love is when I change and my beloved changes."

A film alapgondolata teljesen jó, közben azért nem mindent sikerült értelmezni, de ez egy Godard filmnél talán nem meglepő. Azt viszont továbbra is fenntrartom, hogy a Mester képi világa és megoldásai még mindig képesek lenyűgözni. Valamiért. Én így szeretem.

"Si vous ne pouvez pas vous acheter du LSD, achetez-vous une téle en couleur!"

“People never really talk in a movie.”

"...since a wide gulf separates my subjective certainty of myself from the objective truth others have of me, since I constantly end up guilty, even though I feel innocent, since every event changes my daily life, since I always fail to communicate, to understand, to love and be loved, and every failure deepens my solitude..."

That hurts.

Two or Three Things I Know About Her is a movie that perpetually feels like it’s in contrast with itself. It’s aware that it’s got a duty to show particular things for the sake of narrative cohesion, but instead, it chooses to participate in a celebration of the ideas that are an extension of them. It’s one of three movies that Jean-Luc Godard released in 1967, and seems to have developed out of primal anticipations and a particular frame of mind. It additionally feels like a transitional period in Godard’s career, uniting the themes and moods of his earlier work with the anti-Americanisms and revolutionary politics which came to monopolise his attention. It indeed asks some searching questions in an original manner, with references from poetry and a general philosophical approach to culture.

Longing. 

Beautiful. Vibrant. Longing.

Non ho mica capito sai

Painfully 2020. “Dead objects are still alive, but living humans are often already dead”

JLG at his most humanistic.