Jean-Luc Godard’s fourth film, *Vivre sa vie*, centers on Nana (Anna Karina), a young woman living in Paris. She isn't particularly intelligent, but possesses a vibrant spirit and striking beauty. Finding herself unable to support herself through her job at a record store or achieve her ambition of becoming an actress, she turns to prostitution. French law following the war allowed for this profession, with specific guidelines that are presented in a segment resembling a documentary. Nana, desiring to live life on her own terms, initially believes this new career will free her from financial worries. However, escaping poverty through prostitution only subjects her to different limitations imposed by her procurer and customers. The film is structured into twelve distinct sections separated by fade-to-black transitions that become increasingly rapid—a technique one observer likened to accelerated breathing. It culminates in an ending I’ve rarely encountered that is so startling. This is an exceptional film. Its 85-minute length feels precisely right for the narrative, with no scene feeling unnecessary. Every element aligns perfectly, even those details that might seem excessive, a characteristic of Godard's directorial style. Early on, Nana attends a screening of Carl Dreyer’s 1928 silent film *La Passion de Jeanne d'Arc*, and this isn't just a superficial nod to earlier cinema, as is often seen in French New Wave films. A conversation between Nana and an elderly philosopher—who turns out to be the actual philosopher Brice Parain, whose words are taken directly from his writings—doesn’t come across as shallow intellectualism either. Instead, these scenes add depth to Nana's character: she may not be bright or well-educated, and has known a life of easy encounters for some time, but she deeply feels that there must be something more. Anna Karina’s outstanding performance further enhances the realism of Nana’s portrayal. Considering Godard has faced criticism from certain quarters, one might assume Karina was simply an attractive woman who appealed to the director because of her looks and background. That isn't the case; the Danish actress delivers a completely convincing depiction of a Parisian woman easily affected by sentimental art.

Source on TMDB