Una donna sposata

"No compunction can be traced from a two-timing Charlotte, she juggles Pierre's brute aggressiveness and tenderness (Leroy implements both with stark precision), with Roger's sophistication and clinginess, even the moral conundrum of pregnancy cannot fluster her, she only wants to know whether her pursuit of physical pleasure is wrong or not. Méril has a knack for evasion, her high-born delicacy, impish self-effacement emblazons her with an air of nonchalance that is essentially why French women on screen are so ethereal, yet, Godard's self-referential monologue often brings Charlotte down to earth, her inner thoughts, private ideations, her conviction in trust above anything else, find her beyond moral reproach, essentially, it is her aw-shucks niceness and realness (words are not put into her mouth, she seems to mean what she articulates) that establishes herself as an unusual Godard heroine, Charlotte's modernity is head of her time."

read my full review on my blog: Cinema Omnivore, thanks.