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The second of three movies Godard released in 1967—toward the end of his landmark ’60s streak—this is one of his most straightforward cine-essays, a crucial point in understanding his evolution from formal daredevil to political rabble-rouser. The movie documents the activities of a student Maoist sect, which advocates social upheaval from a posh commune living room. Sympathetic to their ideals but appalled at their extremism, Godard plays their posturing for comedy: He invites us to laugh when nebbishy Léaud argues for the necessity of violence, or when a self-styled revolutionary emerges bloody from a brawl with…Marxist Sorbonne students.
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