Shot concurrently with 2 or 3 Things I Know About Her (1966), this fractured film essay by Jean-Luc Godard bursts with bright colors, comic-book characters, and seemingly random violence. As a detective investigating the murder of her lover, Anna Karina is a cartoonishly exaggerated version of Humphrey Bogart in The Big Sleep, and there are numerous verbal references to other films. Yet Godard abandons narrative coherence to question cinematic conventions and even language itself, offering isolated moments of visual pleasure and characters who seem to be talking to the camera as much as each other. References to communism and to advertising as a form of fascism contribute to the film’s attack on conventional ways of creating meaning and the bourgeois complacency fostered by mass entertainment.