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2 or 3 Things I Know About Her
Directed by
Jean-Luc Godard
Not Rated
1967
87m
Comedy
,
Drama
6.5
94%
72%
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A day in the life of a Parisian housewife/prostitute, interspersed with musings on the Vietnam War and other contemporary issues.
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Where to Watch 2 or 3 Things I Know About Her
Criterion Channel
Subscription
Max
Subscription
Max Amazon Channel
Subscription
Cast of 2 or 3 Things I Know About Her
Marina Vlady
Juliette Jeanson
Jean-Luc Godard
Narrator (voice)
Anny Duperey
Marianne
Roger Montsoret
Robert Jeanson
Raoul Lévy
John Bogus, the American
Jean Narboni
Roger
Yves Beneyton
Young Man
Juliet Berto
Girl Talking to Robert
Helena Bielicic
Girl in Bath
Christophe Bourseiller
Christophe Jeanson
Marie Bourseiller
Solange Jeanson
Marie Cardinal
Robert Chevassu
Meter Reader
Joseph Gehrard
Monsieur Gehrard
Blandine Jeanson
Girl
Benjamin Jules-Rosette
Man in Basement
Jean-Pierre Laverne
Author
Jean-Patrick Lebel
Pécuchet
Anna Manga
Woman in Basement
Claude Miller
Bouvard
Helen Scott
Woman Playing Pinball
Hélène Scott
Girl Playing Pinball
2 or 3 Things I Know About Her Ratings & Reviews
Chicago Sun-Times
Roger Ebert
Godard is as relaxed in the film as in the title.
New York Times
Manohla Dargis
he her in the title of Jean-Luc Godard's 1967 film is meant to be Paris. There is, however, another 'her.'
Detroit Free Press
John Monaghan
Based on a series of magazine articles, the movie was made around the time Godard abandoned conventional narrative almost entirely for what he dubbed the cinematic essay.
Chicago Tribune
Michael Wilmington
Two or Three Things I Know About Her is one of the most beautiful films of the young Jean-Luc Godard, a great French cineaste, poet and frustrated lover.
Slant Magazine
Bill Weber
The dualities that abound in Jean-Luc Godard's 2 or 3 Things I Know About Her are ubiquitous at whatever starting point one chooses.
Panorama
Jean-François Vandeuren
Une russite esthtique aussi improbable qu'absolue rvlant une fois de plus les immenses talents de manipulateur de foule de Godard
Seattle Post-Intelligencer
Sean Axmaker
... revolutionary, impudent and personal, and still Godard stops to admire the sublime in the ordinary...
Salon.com
Andrew O'Hehir
Despite an aura of wistfulness, and a certain power that accrues from the disjunction between the story of a vulnerable, life-hardened woman, the chaotic collision of sound and image, and the ham-handed political lessons, this film never moves me.
Village Voice
Nathan Lee
Raoul Coutard's Techniscope cinematography contemplates an espresso, filling the screen in monumental close-up with a rotating vortex of bubbles and foam.
New York Times
Renata Adler
There is certainly enough of wit and beauty, though, to keep the film afloat.
Chicago Reader
Dave Kehr
Though poorly received on its first release, this 1966 film seems in retrospect one of Godard's most stimulating investigations of images and surfaces -- the meanings they convey and the webs they spin.
ianthomasmalone.com
Ian Thomas Malone
Godard forces the audience to engage with film as a medium purely on his terms. It's an uncomfortable yet deeply satisfying exercise.
Oregonian
Shawn Levy
It's a vexing film that teases with sex and serves up radical politics. But it has extraordinary alchemical powers, turning the most ordinary environment -- a young couple's suburban flat -- into a minefield of ideas.
Los Angeles Daily News
Glenn Whipp
Godard's got a lot on his mind, mainly outrage at the French government's ongoing construction of a new Paris.
Q Network Film Desk
James Kendrick
a wide-ranging cinematic essay that may seem scattershot and abstract on first viewing, but rewards more and more with each repeated experience
Filmcritic.com
Paul Brenner
From now on, Godard's films will become film essays and then cine-tracts. 2 or 3 Things I Know About Her is the dividing line.
Cinemania
Dan Jardine
The pinnacle of Godard's art. Probing, uncertain, hesitant, humble, lyrical and profound
The New Yorker
Penelope Gilliatt
Godard forswears the forces of sympathy and audi¬ ence participation, which are perhaps forms of fear, but this does not keep him from a furious pity and expressiveness.
Movie Metropolis
Christopher Long
A marvel that equals anything in Godard's 1960s output.
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