Before declaring “Extinguish of Cinema” in “Weekend”, Jean-Luc Godard made this utterly animated and spellbinding meditation on the unusual consumer lifestyle. “Her” is Juliette, a married housewife that turns to prostitution to bring in money so she can consume the newest dresses, and also the modernizing Paris of the 1960s. You won’t score the postcard landscapes of the Eiffel Tower or the Champs-Elysee in Godard’s political and philosophical tract that takes exclaim with the suburbanizing of Paris with astronomical apartment buildings, perfectly captured by Raoul Coutard’s always sparkling cinematography. Also in the film: attacks on the US in Vietnam (Juliette’s son’s dream) and relations between men and women, and an exploration of alienation and the struggle for meaning in the (then) changing world of 1966. This might sound boring–me, I eat it up. As previously mentioned, this is one of Godard’s last films before temporarily abandoning classical filmmaking, and his frustration with the confinements of cinematic perform result in pushing the boundaries of record film. There’s very minute yarn, but the movie is filled with thoughts and meanings, and is one of the most personal films made by a director.

This is simply one of the finest films I have ever seen. Godard does things in ways that no one else can. It blends sociopolitical commentary with pure experimentation and existential realism. Visually specatacular and completely titillating while abstract and mysterious. A perfect film.
Totalgym

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