Godard is sort of making his first attempt at the most close-up cinema, and the more close-ups there are the more stream-of-consciousness there is as well. It seems that this time the abstract performance of the actor is converted to the abstract performance of the camera. In this movie. Instead of the comical or absurd performances of actors in Godard's previous films, there is a sense of experimentation with a deeper expression of the camera.
The camera also has a special power. It seems to maximize the world from a married woman's point of view, and everything seems so intuitively observant.
In many experimental short films, this kind of fixed close-up is also used, in order to mimic the form of the eyes, the form of the eyes to observe the world to illustrate the story, the married woman has done this, giving us the most intuitive observation perspective.
The plot of the movie ends on a simple note that doesn't feel like it's oriented towards feminism or anything more political. There's not much to say about that, maybe Godard loves movies more than politics (only Godard at this point in time).
The camera also has a special power. It seems to maximize the world from a married woman's point of view, and everything seems so intuitively observant.
In many experimental short films, this kind of fixed close-up is also used, in order to mimic the form of the eyes, the form of the eyes to observe the world to illustrate the story, the married woman has done this, giving us the most intuitive observation perspective.
The plot of the movie ends on a simple note that doesn't feel like it's oriented towards feminism or anything more political. There's not much to say about that, maybe Godard loves movies more than politics (only Godard at this point in time).