Every Man for Himself

With his formal, four-part ordering of the narration, the tension he establishes and exploits between sound track and image, and his use of slow motion to analyze and abstract the action, Godard pulls an aesthetic victory from the jaws of utter nihilism.

Is Godard the prostitute or the pimp?

Godard's new work is certainly arresting, audacious, provocative and all the rest, but it is also tedious, difficult to sit through, a film made for critics and dissertation writers and almost no one else.

A brutal examination of transactional relationships that feels eerily prophetic today, as if Godard had already seen the dire ends to which the 1980s would bring us.