Long before the Velvet Revolution, Godard and a loose collective of Marxist filmmakers traveled to Czechoslovakia to capture images of daily life. The raw footage was then edited–with much sarcasm–to convey that the evil grip of capitalism extends far into the ailing Communist Bloc.

Cinephile Interest:
If you thought Godard was getting too political with 1968’s Week-End, then hold on to your beret. After the student protests of May 1968, the director began making non-narrative, agitational films that were closer to the Soviet montage experiments of the 1920s than the elliptical narratives of contemporary art cinema.

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