Masculine Feminine (re-release) Image

Universal acclaim - based on 14 Critics What's this?

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Universal acclaim- based on 16 Ratings

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  • Summary: Originally released in 1966, Godard's film chronicles the love affair between Paul (Léaud), a young revolutionary enthusiast, and Madeleine (Goya), an aspiring pop singer, in fifteen vignettes set in the kinetic world of Paris.
Score distribution:
  1. Positive: 14 out of 14
  2. Mixed: 0 out of 14
  3. Negative: 0 out of 14
  1. One of the quintessential '60s foreign art films, a bizarre melange of pop music, revolution, sex, movie allusions and poetry. It's a masterpiece of sorts by one of the most important European filmmakers of that era. But it's also a movie that can drive you crazy.
  2. Reviewed by: Greg Bellavia
    Masculine, Feminine could be viewed as Godard's reaction to his own success and the state of the world around him.
  3. 90
    An excellent film, still as fresh as the day it was made.
  4. This document of youthful confusion has not aged one minute. If anything, its detached, discursive and sympathetic observation of the earnest foolishness of post-baccalaureate, pre-1968 Parisians is more acute, and more prophetic, than ever.
  5. Reviewed by: Ty Burr
    Remains worth seeing as an achingly nostalgic farewell to youthful idealism, tinged with a kind of loving contempt.
  6. It's cumulatively entertaining, and a fascinating and nostalgic time capsule of its era. Watch for the cameo by Brigitte Bardot.

See all 14 Critic Reviews

Score distribution:
  1. Positive: 3 out of 4
  2. Mixed: 0 out of 4
  3. Negative: 1 out of 4
  1. Apr 30, 2014
    My fourth Godard’s film (CONTEMPT 1963, 7/10; BREATHLESS 1960, 9/10; PIERROT LE FOU 1965, 7/10) so far, thus apparently I am not a newbie in Godard school, but to see the defiant Jean-Pierre Léaud (Francois Truffaut’s alter ego in THE 400 BLOWS 1959, 9/10) has grown into a handsome young man, a boy-becomes-man leap from Antoine Doinel to Paul, with sharp stare, worldly-wise sophistication (a wonderful whistler and vocalist too), in a Godard’s picture, which strikes as a sublime force of naturalistic liaison between La Nouvelle Vague auteurs.
    read rest of the review in my blog, google "cinema omnivore"
  2. kcki
    Dec 5, 2005
    Ugghh! I tried to appreciate it's unique context, blah, blah, the end I would have sacrificed my own family to stop watching the movie. The tedium was endless. Expand

See all 4 User Reviews