Juonikuvaukset(1)
Not necessarily a film about the struggles in Italy - largely shot, in fact, in Godard and Anne Wiazemsky's home at the time - this is a disruptive reflection on a young Italian woman's shift from political "theory" to political "practice" and, at the same time, a self-questioning of its own practice and theories. (Arrow Films)
Arvostelut (1)
A viewer shaped by bourgeois perception could try to find an expansion of their own limited ideological horizons in this film. The directorial approach of Leninist self-criticism and activist transcendence of oneself can dialectically be grasped as a classical psychological individualism of Balzacian cut, with its inner character development. The activist of the world-historical class struggle, the subject-less process, grasps this process from within their own subjectivity within the framework of a specific bildungsroman. What is not bourgeois at all is the constant self-criticism of the field of perception narrated by the character, along with the connected transformation of the coordinates from which this perception is carried out. This is something incomprehensible for conventional cinema, as otherwise, we wouldn't be able to witness the shocking puppet show of bourgeois art, where the puppets seemingly change and frolic here and there against the backdrop of unchanging, recycled scenery. And therein lies one of the lessons of Marxism, where the character changes along with the material conditions in which it is formed.
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