I love a comedy that's actually funny and directed. The multiple push-ins on Ryan O'Neal's face throughout the film. The cut at the end from a close-up of O'Neals face to a high angled shot of him in the empty terminal. Kovac's use of deep focus photography which lets the cast fill the frame during the crowded comedic set pieces, as each player does their own thing in the madness (like with the hotel room piece). The controlled chaos overflowing…

Triple feature of this, Badlands, and Mishima: A Life In Four Chapters. Malick being a successor to Godard in his looseness with cutting, time, and sequence. Schrader's Mishima also discussing the intersection between art and death, as Belmondo's character ends here. Forgoing his reinvigorated literary passion through Karina by using his body as a canvas.

Mostly lacking the jump cuts and stripped down aesthetics of Breathless, Pierrot Le Fou is a bright, colorful, cinemascope film that is yet more manic…