Masculine-Feminine

Using neither crime nor the romance of crime but a simple romance for a kind of interwoven story line, Godard has, at last, created the form he needed. It is a combination of essay, journalistic sketches, news and portraiture, love lyric and satire.

Its parodies and satires are recklessly inventive, and its fundamental pessimism isn't as flip as it may at first seem.

May not have aged any better than Godard's other films of the period, but that doesn't mean Paul and company don't continue to ask questions and spout the opinions of the newly enlightened.

An odd, scattered, free-form, but thoroughly engaging film.

This is the Godard that fans would like to take to the grave: jaundiced, naughty, immediate, very much alive.

You can appreciate Godard's vigorous early visual style.

Godard takes another experimental view of his own movie, inserting documentary, outside sub-plots, and sudden intertitles that break the rules of storytelling, but because it’s Godard, we’re not surprised and is still very watchable.

There’s the creeping sensation that this giddy, pop culture oversaturation is no longer sustainable, especially as these characters inch into adulthood.

Though Léaud is a significant figure as an actor, he also represents something even more important: the portraits of two of the most important cinematic artists as young men.

'Masculin féminin' finds the iconoclastic filmmaker in transitions.