I think the one of the things that struck me the most about the overall style of Breathless were the mismatched cuts that Godard used. I feel like they might've been used not only to save time, but also to give off a sense of chaos as Michel persuades Patricia to hide out with him in Paris while he waits for his money. In another sense, I also think these cuts can describe Michel's movement throughout the film- he's quick and sudden, always keeping out of sight until the very last scenes.
I also think that Godard's approach to sexual situations in this film were a bit surprising, but not very unexpected. I think overall that theme communicates a strong sense of the characters as they meet again in Paris and their attraction to one another, and I can also see this element being used to push the boundaries of acceptance for this period in film history. The way the characters also interact with a kind of loose narrative bring a stronger sense of realism into their story as it unfolds. I think that all of these elements combine well to help illustrate a deeper meaning behind the surface of the story- maybe to illustrate some of the psychological characteristics behind the characters and their development throughout the film.
Good, Jessica. Might be interesting to pursue this a bit further and consider what this emphasis on physical love--as you say, kind of expected given the magnetism of the pair--has to do with the chaotic qualities of Michel's life and the camerawork and editing themselves. What does this suggest about the film's intentions, perhaps about its intended audience?
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