The question of whether or not the film or its characters are actually good Marxists is not only not interesting, but also misguided, since we’re bound to get nowhere with such relationships of subordination: it is the coordination that we must look at instead. Godard doesn’t film “Marxists” or things whose meaning would be Marxism. He makes cinema with Marxism [...] The strength of the film is that it brings together cinema and Marxism by treating those two formulas as two different conceptions of art in general, and hence also of Marxist cinema. -- Jacques Rancière

第一次看日本的歌舞片吧，大荧幕上看还是不错的。运用歌舞把艺妓这个很古老的题材年轻化了，看着没那么沉闷。情节设置上应该是借鉴了窈窕淑女吧，不过风格完全不同，我还是可以接受的。各种脸熟的演员在其中，CHINESE乱偷高潮CCM6还是很养眼的一部片子。

这一集才是真正践行了进取号的座右铭：探索未知领域。 而且用一个反讽巧妙地收了场。可以肯定，以后是不可能在此系列中看到这种终极思考的题材了。

后面几季的案件更经典诶//看完感觉意犹未尽，CHINESE乱偷高潮CCM6最后一个案子猜到了凶手，却没想到结局。

学生运动就是笑话，不分国家，不分年代。戈达尔五月风暴也被捕了，但他不一样，我们都知道。