Masculino, femenino

Once again, we are presented with an examination of the influence of the all-pervasive ideology of emerging consumerism in the 1960s on the behavior of the characters - the young leftist Léaud (Marx's child?) and the youthful Chantal Goya (Coca-Cola's child?), who was already breaking through in show business. The observation of their coming together and subsequent distancing (the great scene with a wall between Marx and Cola, a wall between the ideal product and reality can be found towards the end of the film during the recording of an album in a music studio), made possible by the time period; reflection (and internalization?) of ongoing social processes (leading to its end) in Léaud's character, presented with typical Godard finesse - particularly in the sociological tuning in long shots of dialogues between individual characters (thus anticipating his future films, especially 2 or 3 Things I Know About Her), of course with distinctive editing, unexpected "intrusions" of music, and so on, all in an accessible and cohesive narrative form (thus reminiscent of his previous films). (26.10.2013)

Actually, I like conversational films and this one had something to talk about. It excellently deals with the time and the way young people think, but it doesn't change the fact that Godard didn't really manage to captivate me. Nevertheless, it shows that the possibilities of film are truly broad, it just depends on the filmmaker how they approach the whole shooting. This is very personal. (06.11.2014)