Oh Godard, you frustrating bastard. You start off with some wonderful stuff, meta-cinema comments and neat little self-references, plenty of intriguing photography and technique, a bold French-themed palette (red, white and blue). You really got me into it. But you couldn't hold back, could you? You had to start speechifying. Blah blah blah arrogant shallow pseudo-intellectual gibberish blah blah. An absolute mess, but with Godard, it's always an interesting one.

64.500

948

975

Godard at his most politicized and intellectual, but at the same time this features some of his most technically/aesthetically impressive work.

I'm glad I'm not the type of person that could love this, but I do enjoy appreciating Godard.

I'm in love with the infinite tracking shot along the ends of the checkout belts at a supermarket.. to me it evokes unintentional meanings that Godard & Gorin were not expressly discussing, but possibilities they were surely aware of. Which, I understand, is a meaningful expression itself for the Dziga Vertov Group.

I wouldn't recommend this to anyone not interested in the May '68 conflict, but there are still some awesome bits throughout. I never felt entirely bored with the preaching, as Godard keeps you just interested enough without ever really ceasing to "educate".

I'm glad no one pays attention to you anymore.

You know those scams where they tell you you'll get a free prize of some sort as long as you listen to an incredibly banal and snooze-worthy speech about timeshares and then at the end it was a giant waste of time? Score is not a grade.

In the right hands, I could see a case for this movie's greatness, but it's not something I expect to revisit. Interesting enough to watch once, but the overt politicizing and meta-ness gets weary after a while. And somebody needs to preach the virtues of "Show, don't tell" to Godard, I think.

Understanding and expanding upon his own political passion with the aid of Gorin, Godard sees the way to make a movie as compassionate and significant as Tout va bien with artistry and bite. Subsequently relegated to the margins of his filmography in favor of his less anti-consumerist/capitalist outings (such as Breathless), the vital Tout va bien deserves recognition as one of Godard's most significant cinematic plays. With it, he highlights the importance of movement(s).