Filmed in 1960 and withheld from release until 1963 because of its direct portrayal of French mistreatment of Algerian independence fighters, Jean-Luc Godard's *Le petit soldat* combines a political thriller with elements of a romantic story. Bruno (Michel Subor) is a French operative stationed in Geneva, engaged in an undercover conflict against Arab spies who support the Algerian cause. Weary of his superiors’ demands that he eliminate another agent to demonstrate his loyalty, he longs to flee to Brazil alongside the charming Danish woman Veronica (Anna Karina). The question remains whether they will succeed or not. I'm going to assume anyone considering this movie has already seen Godard's initial film, *Breathless*. Whether you like it or dislike it, it’s a landmark of 20th-century cinema and something any serious film enthusiast should experience. Godard’s second work initially appears to follow a similar structure—a man involved in a dangerous game of deception while pursuing a woman unaware of the peril he faces—and there are some abrupt cuts as well. However, *Le petit soldat* has unexpected developments in its storyline and isn't simply a repeat of what came before. The editing is also more precise, and the visual composition more striking; it’s clear that Godard has progressed to the level of his later films from the 1960s. For audiences now, decades after the Algerian War, and when even the French are beginning to forget about it, this might not seem like a particularly forceful political statement. Nevertheless, Godard includes several pointed references to World War II, implying that the same forces who were rightfully resisting Hitler just fifteen years earlier are now acting as oppressors against their own colony. While this isn't one of Godard’s more discussed films, I personally have found it to be more stimulating than *Breathless*, bringing up moral issues that still resonate in Europe today and containing some surprising plot twists. Karina’s role is particularly noteworthy. Karina had recently arrived in France and her French language skills were still limited, so Godard gave her few lines of dialogue. For the most part, she functions as a sort of Barbie doll—a symbol of Bruno's attraction. As if to emphasize that Karina exists solely for visual appeal, Godard has Bruno photograph her for an extended period while she poses in different positions. Later films by Godard would demonstrate that Karina possessed considerable acting ability, but this role doesn’t allow her talent to emerge.

Source on TMDB