紀(jì)錄片式的電影，第四堵墻的打破，一個(gè)家庭主婦版Ulysses在巴黎的漫游（flaneur）與絮語(yǔ)（fragments d'un discours），一群女性詩(shī)意的獨(dú)白合鳴，思考越戰(zhàn)、賣淫、城市環(huán)境等社會(huì)問(wèn)題的大雜燴。電影中正在生成和擴(kuò)建的巴黎遠(yuǎn)不如50年代塔蒂Play Time里高度現(xiàn)代化的Tati Ville有趣，而是陷入喧嘩與騷動(dòng)，于是普通男女的內(nèi)心也和著這節(jié)奏發(fā)出不安分的震顫，從生活的表層抽取出哲思，碎片化地訴說(shuō)著語(yǔ)言的無(wú)力、人生的虛實(shí)、思想與現(xiàn)實(shí)的距離。戈達(dá)爾使盡渾身解數(shù)牽引觀眾的全部注意力。他的鏡頭總是塞得太慢

Possibly one of the most obscure Godard films. He focuses on objectivity (thing, me) and subjectivity (I) (as Juliette says: me, myself, and I, all of us./The world is me; I am the world): prostitution turns humans into products; products become the mediatation of human interaction (two women reading the same magazine).
He also focues on the means of exchange: commercial exchange, linguistic exchange and sexual exchange.
Aesthetically speaking, the use of close-ups: close-up of objects (coffee, cigarette) and of women's faces. Also the whispering narrative, which creates a sense of intimacy and requires the audience's full attention.
The word "elle" in the title could refer to Juliette, or the Paris region. But what are the 2 or 3 things still remains a question mark.

看到這個(gè)電影居然只有一篇長(zhǎng)評(píng)，不過(guò)上面那人的標(biāo)題我想起之前寫過(guò)的一篇妓女與哲學(xué)家的文章，結(jié)果引起了圍攻，那是我第一次見(jiàn)識(shí)網(wǎng)絡(luò)圍攻的力量，不過(guò)本人挺無(wú)所謂的，我挺討厭一開(kāi)口什么事都和道德扯的人，就像書金閣寺里那些個(gè)虛偽的人一樣，人生在世不就是一葉扁舟隨波逐流么
不過(guò)話說(shuō)回來(lái)，看法國(guó)人的電影也是一門課程，最重要的就是對(duì)藝術(shù)的感覺(jué)，細(xì)膩而溫柔的觸覺(jué)感

盛宴喜劇片 《我略知她一二》：我在夢(mèng)里看見(jiàn)了合體人
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