爱上这种间离效果。面向镜头讲述自己，接着转脸融入生活。这样的镜头是真实存在的，它并不会出现在生活场景中，就如电影里不会出现摄像机的实体。但镜头是存在的（只有望着它时的一切才是真实的），所以述说在继续，那是意识的短暂觉醒，随后又半睡而去。这是对《柏林苍穹下》那层层叠叠的内心呢喃的离散与抽取。这是对克氏的那句话的（世俗）注解："To be exist is to be with oneself alone before... the Camera." 语言是家园阿，是在这片空无中抓住的零星半点，但空无是必须的，所以不能让语言充塞，所以镜头隐去，所以转脸融入生活。
这种间离效果还体现在音乐上：它响起一如它终止那样突兀。
镜头是一种来自高空的绝对注视，借此我们真实存在。
Possibly one of the most obscure Godard films. He focuses on objectivity (thing, me) and subjectivity (I) (as Juliette says: me, myself, and I, all of us./The world is me; I am the world): prostitution turns humans into products; products become the mediatation of human interaction (two women reading the same magazine).
He also focues on the means of exchange: commercial exchange, linguistic exchange and sexual exchange.
Aesthetically speaking, the use of close-ups: close-up of objects (coffee, cigarette) and of women's faces. Also the whispering narrative, which creates a sense of intimacy and requires the audience's full attention.
The word "elle" in the title could refer to Juliette, or the Paris region. But what are the 2 or 3 things still remains a question mark.
8.1分
电影很实验派又有点学术论文体，乍看下来像早期昕薇杂志那种，在每一个环节都给你来个海报并设置一个题目，内容非常的杂乱无章，可能这个镜头是一个女人在与人交流，下一秒直接就跳到工地施工、大吊车、卡车集聚一堂（带噪音的）。电影诡异的画外音，像是男闺蜜在小声跟你八卦现象下的社会真相，电影没有什么剧情，都是现象描述，无时间、行为、因果轮回。
通过对于很多人的内心自述，来反映哲学理念。
①女主偷情这件事的内心独白，是用了维特根斯坦最经典的哲学观:“语言不是人们生活中的边缘话题
【我略知她一二】戈达尔与影像实验
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