Two or Three Things I Know About Her

Godard forswears the forces of sympathy and audi¬ ence participation, which are perhaps forms of fear, but this does not keep him from a furious pity and expressiveness.

The dualities that abound in Jean-Luc Godard's 2 or 3 Things I Know About Her are ubiquitous at whatever starting point one chooses.

Two or Three Things I Know About Her is one of the most beautiful films of the young Jean-Luc Godard, a great French cineaste, poet and frustrated lover.

Based on a series of magazine articles, the movie was made around the time Godard abandoned conventional narrative almost entirely for what he dubbed the cinematic essay.

This is unashamedly intellectual, discursive, noodling film-making, a cinema of ideas, conceived in a language that is demanding, but not totally opaque.

Though the film's intention is clear, it doesn't hinder its poetry. [Full review in Spanish]

Godard forces the audience to engage with film as a medium purely on his terms. It's an uncomfortable yet deeply satisfying exercise.

The pinnacle of Godard's art. Probing, uncertain, hesitant, humble, lyrical and profound

a wide-ranging cinematic essay that may seem scattershot and abstract on first viewing, but rewards more and more with each repeated experience