2 ou 3 choses que je sais d'elle

2 ou 3 choses que je sais d'elle (1967)

1h 27m | Plot, Comedy | France
6.8IMDb
7.5DouBan

Like Godal's other works, this film does not follow the traditional narrative arc: beginning, conflict and result. Instead, it shows the audience the 24-hour complicated but empty life of the heroine Juliet Jensen (Marina Veradi Marina Vlady). In France in the mid-1960s, various social and philosophical thoughts were changing. Juliet was ostensibly a middle-class married mother, but later she was a part-time prostitute, dealing with the heavy pressure of life on her own. Juliet first sent the crying and screaming child to a man who looked after the baby for call girls, and then began her day. Shopping, doing housework and raising children, her mundane daily life is often interrupted by client appointments. The story form in the film has long been fragmented, full of narrations, subtitles, symbols and irrelevant footage. Although there was a script when the film was filmed, Godal asked the actors to break through the "fourth Wall" during the performance, randomly create lines and interact with the staff outside the camera, making the film full of experimental and critical consciousness.

Like Godal's other works, this film does not follow the traditional narrative arc: beginning, conflict and result. Instead, it shows the audience the 24-hour complicated but empty life of the heroine Juliet Jensen (Marina Veradi Marina Vlady). In France in the mid-1960s, various social and philosophical thoughts were changing. Juliet was ostensibly a middle-class married mother, but later she was a part-time prostitute, dealing with the heavy pressure of life on her own. Juliet first sent the crying and screaming child to a man who looked after the baby for call girls, and then began her day. Shopping, doing housework and raising children, her mundane daily life is often interrupted by client appointments. The story form in the film has long been fragmented, full of narrations, subtitles, symbols and irrelevant footage. Although there was a script when the film was filmed, Godal asked the actors to break through the "fourth Wall" during the performance, randomly create lines and interact with the staff outside the camera, making the film full of experimental and critical consciousness.

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