La Chinoise

Jean-Luc Godard - 1967
Godard has this as a moment; a moment in the struggle that can then be critiqued, without navel-gazing worries.The logic used on the train isn't intended to mock the struggle, but to put it on the path, take it beyond the simplistic Maoism of that summer.
And simplicity is the question here. The three primary colours, the slogans everywhere. Too simple has to be the conclusion. But when we try to do this theory, takes words as materials, someone says I don't love you, and it's difficult to keep it that. The theory was all in the wrong order. Back to work; zero.
The use of interview is key here, allowing us to consider the actors as people, as involved in what they do. This is a renactment of an event; and this film is one of the strongest argument for the Melies cinema, the reenactment of events. As with the Vietnam play, here is what we can take as truth. The reality of the reflection, not the reflection of reality. Art and politics; thinking about two things at once.
Also, a couple of things about the camera; Godard moves it less as the sixties go on, but what here about those tracks along the window. Seperating?