Tout Va Bien

Godard's return to mainstream film-making after his self-imposed four-year Marxist-nihilist exile is a sort of auto-critique, craftily type-casting Fonda and Montand as media intellectuals (she an American journalist, he a former New Wave film-maker now working in commercials) who eagerly committed themselves to the revolutionary struggle in 1968, but are now led to revise that commitment (and their personal relationship) through their involvement in a factory strike in 1972. A little simplistic at times but acidly funny, with Godard's genius for the arresting image once more well to the fore.