Synopsis
Believing that the narrative film – even when modified as in his own
Breathless or
Masculine Feminine – was outdated and bourgeois,
Godard let loose a propagandistic audio-visual barrage on the senses that combines
Maoism, the
Beatles, multiple soundtracks, minimal cinema à la
Warhol, nudity (accompanied by a women’s liberation statement), and excerpts from
Nixon,
Pompidou, and the Communist Manifesto, all ending with a blood-spattered hand painfully reaching for a red flag.