"I had a dream I went to the theater. During the intermission, I met the devil. He was well dressed."

this movie is so french it has a scene where a character lights a cigarette with all the matches he has in his pocket at once. i cant even begin to describe how much of a jolt of pure cinema this is, it hits every sweet spot imaginable including sweet spots i didnt even notice in myself. absolute heaven.

I liked it more when I suspected that Godard had filmed his friends driving around Paris and simply dubbed in the narration to make the story about espionage and the Algerian War at the editing stage. The constant references to art are cute, but when characters read from Maoist texts (as Godard characters are wont to do) or act as (butt) trumpets for whatever sand was blowing up Godard's skirt at the moment, the movie grinds to a halt for me. Still kind of amazing that this early on he was breaking so radically away from the style of movie his cohort were making, and ballsy of Godard to directly confront the Algerian War while it was still occurring.

old woman at film forum said she fell asleep cuz there wasn’t enough anna karina in it and u know what... i felt that

35mm. Film Forum.

when anna karina isn't onscreen: 😩😴😣😤😑

when anna karina is onscreen: 😍💞😘💘🥰

this godard fella sure is good with a camera huh

Interesting in that this is sandwiched between Breathless and A Woman is a Woman in his filmography and Le Petit Soldat would make more sense sitting alongside his later works. Politically conscious, but immature, Godard can't quite find the right footing, but his attempts at experimentation keep this one visually interesting. I find the scenes depicting torture the most emotionally and thematically cognizant. The image of one man's face being doused with water, while the bag around his face works like a mask breathing in and out is powerful. It's probably the best image of the movie for what Godard was going for, but he's just too "cool" at this point in his career to really grapple with the political ideas he's trying to juggle. Instead this often plays more like a gangster picture than a theoretical play on political allegiances.

Hands down the most interesting aspect of this viewing experience was finding out that a French YouTube video also has French ads.

Other than a French Folgers Coffee advertisement, there is nothing from this egregiously long, horribly pretentious, painful snooze fest that I enjoyed.

This film will make you fall in love with Anna Karina in a matter of five minutes.

Muchos consideran una obra menor esta incursión de Godard en el thriller político, mejor dicho, en su utilización del género para experimentar con formas cinematográficas y expresar su posición como artista. Contiene la secuencia más brutal de su filmografía, motivo que generó la censura del gobierno francés y tuvo que ser estrenada tres años después de su filmación (se filmó después de Sin Aliento, es decir, es su segunda película). Su posición como artista, furiosamente individualista y prescindente ante la izquierda o la derecha política, es representativa de la primera etapa de Godard, después vendrá Mao y toda esa cantinela.

“Photography is truth, and cinema is truth 24 times per second.”

A film that depicts the morality of war. A film that show us a protagonist that has no stake nor side in it and yet gets pulled into a seemingly endless cycle of violence and political turmoil. Made in 1960 by Godard this film was censored until after the end of the Algerian war in 1962 because of its content. Godard doesn’t hold back reflecting his thoughts about the war and showing us that there is no right or wrong but that there are just sides who use the same methods to get what they want. An incredible film that tackles an incredibly complex concept extremely well. A true masterpiece.

Not a review so much as a memory system since saw 4 months ago: Strange Lynchian laughing scene on train, the long introductory couples scene with Karina and conviction less Beauvais, the torture scene.

i didn't understand one single word of bruno's monologue

I had a bunch of thoughts typed out and it all got deleted.

Loved the movie!

"Quando guardo la mia faccia allo specchio ho l'impressione che non corrisponda più a quello che io credevo di essere dentro. È più importante come si è fuori o come si è dentro?"
"Come ci vedono gli altri non ha importanza, l'importante è come ci vediamo noi."

"Quando si fotografa un viso si cerca l'anima che c'è dietro."
"La fotografia è la verita e il cinema lo è 24h al secondo."

"Ho avuto un incubo ero andato a teatro e vicino a me c'era il diavolo, era vestito elegantemente."

some political shit français without enough time with anna karina doing some shit with her hair.

besides all that, Godard had done some reeeeeeeal good atmospheric shots in this one.

A film that was heavily censored at the time for the topics it dealt with such as the Algerian war in progress at that time and the torture to which political prisoners were subjected.
Considering this to be the second film, his style was still undefined, even if he had already returned from that masterpiece that is Breathless. But great movie.

Her apartment building looks really nice and she’s really pretty but he’s such an insufferable asshole the only thing he has going for him is that his pants fit really well and he’s got the t shirt blazer combo kinda nailed down she’s just so much cooler and prettier but the movie spends all the time on him wtf

"photography is truth, and cinema is truth 24 times a second"