Chris Marker’s pioneering cinema verite documentary is an essay on Paris in the spring of 1962—interviews with city folk intercut with more traditional news footage of a controversial trial and a railroad strike. Marker uses very little narration, letting the images speak for themselves. Sometimes the connections between the different sequences seem vague or nonexistent, but, like Godard, Marker sees montage as a way of broadening the base of his Marxist analysis instead of a means of attacking a specific point.