2 ou 3 Choses que je Sais d'Elle (Two or Three Things I Know About Her)

Critics Consensus

Two or Three Things I Know About Her marks a turning point in Godard's filmography -- one that may confound more narratively dependent audiences, but rewards repeated viewings.



Total Count: 31


Audience Score

User Ratings: 3,290
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Movie Info

The feminine pronoun in the title of this film from Jean-Luc Godard refers to both a French housewife and the city of Paris, as each are changed in fundamental ways by the growth of consumer culture in Europe. Juliette Janson (Marina Vlady) lives with her husband and two children in a high-rise apartment block in Paris. Juliette and her family used to live in a working class community on the outskirts of town, but they've been drawn into the city in search of a higher standard of living, reflected in their new home and their desire for more of the latest consumer goods. Juliette's husband can barely support the household on his salary, so she taken to working as a prostitute without his knowledge to help pay the bills. Deux ou Trois Choses Que Je Sais d'Elle (aka 2 or 3 Things I Know About Her) follows Juliette over the course of a seemingly ordinary day as she looks after the kids, takes care of her husband and plies her trade when she has the chance. Shot simultaneously with Made In U.S.A., 2 or 3 Things I Know About Her found Godard moving away from his fascination with American genre cinema while exploring radical politics and alternatives to conventional narrative frameworks; it proved to be one of his last films to reach a large audience in theaters. ~ Mark Deming, Rovi


Roger Montsoret
as Robert Janson
Marina Vlady
as Juliette Janson
Helen Scott
as Woman at Pinball Machine
Anny Duperey
as Marianne
Raoul J. Lévy
as The American
Yves Beneyton
as Long-Haired Youth
Juliet Berto
as Girl Who Talks to Robert
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Critic Reviews for 2 ou 3 Choses que je Sais d'Elle (Two or Three Things I Know About Her)

All Critics (31) | Top Critics (12)

  • Two or Three Things I Know About Her is one of the most beautiful films of the young Jean-Luc Godard, a great French cineaste, poet and frustrated lover.

    Feb 22, 2007 | Rating: 4/4
  • Based on a series of magazine articles, the movie was made around the time Godard abandoned conventional narrative almost entirely for what he dubbed the cinematic essay.

    Feb 16, 2007 | Rating: 3/4 | Full Review…
  • This is unashamedly intellectual, discursive, noodling film-making, a cinema of ideas, conceived in a language that is demanding, but not totally opaque.

    Feb 16, 2007 | Full Review…
  • he her in the title of Jean-Luc Godard's 1967 film is meant to be Paris. There is, however, another 'her.'

    Nov 16, 2006 | Rating: 5/5
  • Despite an aura of wistfulness, and a certain power that accrues from the disjunction between the story of a vulnerable, life-hardened woman, the chaotic collision of sound and image, and the ham-handed political lessons, this film never moves me.

    Nov 16, 2006
  • Raoul Coutard's Techniscope cinematography contemplates an espresso, filling the screen in monumental close-up with a rotating vortex of bubbles and foam.

    Nov 14, 2006 | Full Review…

Audience Reviews for 2 ou 3 Choses que je Sais d'Elle (Two or Three Things I Know About Her)

  • Jul 23, 2014
    The thematic and cinematic follow-up to Une Femme Marriée (1964) was released in 1967, shot back-to-back with the lesser Godard Made in U.S.A. (1966). The evolution of Godard from passionate filmmaker to serious artist has made a tremendously sized step forward. 2 or 3 Things I Know About Her is marginally better than its thematic predecessor Une Femme Marriée. Unlike Godard's tendency to become obsessed with the pulp culture of America and its destructive fundamentalisms - such as capitalism and the illogical logic of war - which resulted in a notorious detriment of his cinematic quality, he alternatively began to portray the impacts of these political, governmental and artistic ideas and tendencies of a progressively changing society in real people. The first step to achieve, ergo, is to construct human characters. Once this step was achieved, then the environment is the next thing constructed. Here is where the term "Her" in the movie title enters the stage. "Her" refers to both the character of Juliette Jeanson, interpreted by Marina Vlady who is literally introduced by her real-life name, and the city of Paris, the societal environment that encapsulates this massive collage of lifestyles, differing lines of thought and perceptions of society, language and existence. This coexistence between these differing beings is what exalts the dignity of the condition we have of socialization as the rational beings we are. "Her" progressively becomes a duality between a "typical" individual, being this case represented by a middle-class housewife, and the city of Paris, the collective side, as several stories begin to intersect the narrative stream. This progressive transformation of the film tone mirrors the transformation of the city, which can be easily extrapolated to Europe. Everything escalates. Several criticisms to totalitarian regimes and consummerist tendencies raise to the surface, as the film condemns the policies of class division, the loss of oneself's identity and the superficialities in the artifacts of consumption... the modern Marketing creating new "needs" instead of satisfying the basic needs. Truth is, if they are created, they are not "needs", but whimsical machinations of leisures. The interaction between language and images keeps increasing in the director's body of work. Ideas are stated without hesitation, but without pretention either. The validity of language as the limits of our world and how our language allows us to finish our world is discussed. Along these consumption trends, characters interact through a lens of a dramatized documentary, which has been called "exaggerated", but I do dare to call it "authentic". There is an increasing transmission of mutual realization in the structure. With this intentionally impressionistic cohesion between language, images, and even style, Godard focuses on what he intends to transmit, using the societal background as a favorable tool, and dismissing secondary plot and style devices that would only result in the detriment of his credibility, either reiterating points, or causing confusion, factual mistakes that he did in the past. With this dramatic style that utilized the everyday routines of people living and/or visiting Paris frequently, we get a full collection of human characters, easy to empathize with, and eager to talk... or maybe not, out of fear, which is equally fascinating. How paradoxical it is that efforts like Made in U.S.A. or Le Mépris (1963) felt like overstuffed turkeys from a thematic point of view even if the amount of themes to discuss were narrowed down, whereas with this amazing masterpiece, Godard allows himself to talk about, well, everything without the product feeling oversaturated. 94/100
    Edgar C Super Reviewer
  • Feb 09, 2010
    Be warned: "Two or Three Things I Know About Her" is one of Jean-Luc Godard's "difficult" films. The premise is a grabber -- an attractive Parisian woman lives with her husband and son, but secretly prostitutes herself to help pay the bills -- but the action is tedious and hardly titillating. There is really no "plot." No sense of events which move a story forward. There is only a situation. It's often debated whether the titular "Her" refers more to the woman or the city of Paris. Either is possible. Certainly, lead character Juliette reveals very little of herself -- either emotionally or physically -- and, frankly, actress Marina Vlady gives a rather flat performance (a café scene with a cynical Juliet Berto had me wishing she had starred instead). Godard's attention strays to multiple other women around the city (many of whom break the fourth wall and introduce themselves to the viewer), and he's also distracted by countless construction sites (a symbol of gentrification and government intrusion) and, of course, any billboard, marquee or product advertisement he can find. The script is less about the specifics of Juliette's life, and more about a progress-crazed metropolis where selling oneself (literally) becomes necessary to keep up. It's a consumer world where the electricity man nonchalantly intrudes on a woman in her bathtub, and the tricks pay with grocery items rather than cash. The jaded pimp even watches his girls' children while sex occurs in adjacent rooms. The film feels more like a personal essay than a story -- Juliette recurrently speaks to the camera, and Godard himself wears out his welcome as a narrator, churning through heady thoughts in an intense, intimate whisper. As in many of his other '60s films, he is fixated on American imperialism and Vietnam, as well as the flighty connection between language and the reality which it presumes to describe. At one point, Juliette muses, "I know they're my eyes because I see with them. I know they're not my knees or whatever, because I've been told so. Suppose I hadn't been told so?" Your reaction to this film will depend a lot on how receptive you are to this sort of arid philosophizing.
    Eric B Super Reviewer
  • Jan 23, 2010
    a film about, well, everything. by being about everything the film wasnt really about anything until the very end when it revealed a message that was fairly profound. although the film possessed many of the artistic signatures of godard, his normal storytelling and dialogue emphasis was missing. as a plot driven film it might have been powerful, as a documentary it might have been interesting, as sort of a hybrid of the two it felt more like disconnected and random sequences providing short and limited commentary on various cultural issues. in the end two issues hit home and are finally presented clearly, consumerism and manotany, they are presented with bias, but the commentary is worth attention. in the end, godard might have accomplished a certain task, but the film fell mostly empty.
    danny d Super Reviewer
  • Mar 12, 2009
    To hell with stories! Goddard don't need no damn story! This film is a conundrum, because it's very hard to tell whether it's making fun of pretentious movies or being pretentious itself. The presence of the whispering narrator gives you the sense of either an anthropologist hiding in underbrush spying on his subject or a director commentating on his film as it plays. The strangest thing about this film is that it knows it's a film, and its characters know that they're characters in a film. It's a really disorienting effect.
    Emily A Super Reviewer

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