The philosophical discussion in the coffee shop is fantastic, and Anna Karina is gorgeous as always.

Godard says fuck you to convention. His pretensions are forgivable but it seems that his, admittedly fascinating, stylistic choices aren't a fitting match with the material which might have benefited from a grittier, more conventional approach. The end scene was memorable.

I liked a lot in this... but felt I only really half understood it.

On the relation between freedom and determination, life as a series of disconnected scenes or as a relentlessly inescapable fate, speech versus silence, life versus art, life versus death. More downbeat than some of Godard's livelier 1960s masterpieces, this is nevertheless a fascinating film with numerous remarkable aspects.

going back and forth from boredom and enjoyment - and then that ending comes along. I hate Godard, sometimes.

This film succeeds where so many other fail, in striking a balance between ideas/technique, and telling a good human story. It gets more and more engrossing with each episode, virtually everything just works so well.

Undoubtedly self-referential, as in when the Young Man reads from "The Oval Portrait," in which the artist delights in a portrait of his wife without noticing she has wasted away. This is Godard's love letter to Karina, I think. It is sincere, tender, and sad.

Just a bit too much boring dialogue to overlook. I get the point of it, but that doesn't mean it worked for me. Great camerawork.

Just too beautiful & bittersweet.

There are definitely things to like here. The camerawork is very good, Karina's performance is excellent and there are a few scenes that were a real treat to watch - thinking of the dance and the conversation with the older man in the café. However, I never felt like the story really flowed and as a result I found that it really rang hollow for me in the end.

My favorite Godard. Among its standout scenes are Karina watching the Dreyer film, the conversation with the philosopher, and the entire concluding tableau. Karina's gradual descent in society mirrors her ascent to a more saintly figure, making the ending all the more beautiful and bittersweet. This also feels like Godard at his most controlled, or at least most focused. I think that brings a cohesiveness to this film which helps to deepen its overall impression.

A film about desire and despair, the consolidation of hopes and dreams in a crisply captured world as only New Wave Godard could stylishly present it. My Life to Live boasts perhaps the most beautiful, evocative shots of one-time muse Karina that Godard ever directed -- not to make mention of the film's empathy and intelligence. It's no Made in U.S.A. but it's still a triumph.

87.000

oyuncu olmak, borcunu ödeyememek, fuhus, fahise,

Yet again, Godard succeeds where so many have failed - ideas with technique, feelings captured in physical form, always interesting dialogue. The viewer perceives a fleeting life at the pace of Nana - the always lovely Anna Karina. Short and bittersweet.

I really enjoyed the visual style. If you're just shooting two people having a conversation at a cafe, yeah, why not see if camera movement can add some additional insight? Some people don't like that stuff, but I do. Listen, it's not Godard's most compelling film, but clearly a very personal one. Some scenes were utterly forgettable, but a few were kind of magical. Anna Karina dancing in the pool hall was magical, as was the philosophical discussion in the cafe.