80. Like an insightful and long-winded essay. There are two major themes in general. One is Godard's usual love discussion, which wraps the Odyssey-movie plot-the three-layer intertext of Godard's parents. The second is the questioning or even contempt for the film, and it is an intertext, including the voyeurism of women (cold sex scenes), the authority of commercial film producers, deceit (misuse of Bazin), transnational filmmaking and exchange of positions (translation) All wrong), the initiative of the audience (the camera faces the audience), there may be more, but it can already be seen that everything wants to be said, and nothing is well said. The biggest problem is that these two themes are basically irrelevant, and can be split into two films... The Odyssey part has already begun to show the clues of Godard's late associative abstract films. The use of red and blue filters in the opening chapter is excellent, which resolves the embarrassment of commercial films imposing Brigitte Bardot's naked scenes. More than half an hour of indoor play is almost a repetition of "Exhausted". The soundtrack is good but too repetitive. In the end, in order to resist commercial films, Godard played tricks everywhere, diluting the narrative as before and putting them in commercial films. Is it not responsible for the investment and the audience?
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