Masculin Féminin
Godard looked at youth the way someone stares at city lights through a bus window at 2am: fascinated, alienated, and strangely heartbroken. Masculin Féminin feels less like a film and more like fragments of modern existence stitched together before they disappear forever. Conversations interrupt themselves, people speak without truly listening, love turns into political debate and political debate turns back into loneliness. It’s chaotic in the most human way possible.
What destroyed me is how modern it still feels. These characters consume music, slogans, ideologies, relationships, and even each other like products, trying desperately to build identities from whatever surrounds them. Godard understood that modern life would make people emotionally detached long before phones and social media amplified it. Everyone here wants connection, yet they keep performing versions of themselves instead of actually living.
And beneath all the irony and experimentation, there’s something painfully sincere. Paul isn’t just observing his generation, he’s drowning inside it. The film quietly asks whether people are becoming too distracted to feel deeply anymore. Watching it today feels terrifying because the answer seems even clearer now than it did in 1966.
My favorite Godard because it doesn’t feel like cinema trying to be intelligent. It feels like life accidentally revealing its philosophy.
Masculin Féminin
Godard looked at youth the way someone stares at city lights through a bus window at 2am: fascinated, alienated, and strangely heartbroken. Masculin Féminin feels less like a film and more like fragments of modern existence stitched together before they disappear forever. Conversations interrupt themselves, people speak without truly listening, love turns into political debate and political debate turns back into loneliness. It’s chaotic in the most human way possible.
What destroyed me is how modern it still feels. These characters consume music, slogans, ideologies, relationships, and even each other like products, trying desperately to build identities from whatever surrounds them. Godard understood that modern life would make people emotionally detached long before phones and social media amplified it. Everyone here wants connection, yet they keep performing versions of themselves instead of actually living.
And beneath all the irony and experimentation, there’s something painfully sincere. Paul isn’t just observing his generation, he’s drowning inside it. The film quietly asks whether people are becoming too distracted to feel deeply anymore. Watching it today feels terrifying because the answer seems even clearer now than it did in 1966.
My favorite Godard because it doesn’t feel like cinema trying to be intelligent. It feels like life accidentally revealing its philosophy.
