Number Two
Number Two

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- 62/100 based on 1,024 votes

Three generations of a working class French family living together, and argues against traditional concepts of eroticism, instead referring the characters' sexual parameters to a whole series of complex emotions which in turn relate to any number of separate factors, political and social. The frustrations of Sandrine, a constipated wife and her impotent husband are explored in this experimental film that was originally a video tape. The eccentric couple are quite frustrated b... (Full plot summary below)

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Actors in Number Two:

Sandrine Battistella
Pierre Oudrey
Alexandre Rignault
Rachel Stefanopoli
Jean-Luc Godard

Full Plot Details

Three generations of a working class French family living together, and argues against traditional concepts of eroticism, instead referring the characters' sexual parameters to a whole series of complex emotions which in turn relate to any number of separate factors, political and social. The frustrations of Sandrine, a constipated wife and her impotent husband are explored in this experimental film that was originally a video tape. The eccentric couple are quite frustrated by their bodies. Throughout the film many bizarre things happen. For example, to teach their children about sex, they do it right in front of them. The grandparents also talk to the camera buck naked.

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Movie Reviews

Chicago Reader - 10/10 by Jonathan RosenbaumIn many respects, this is a film about reverse angles and all that they imply; it forms one of Godard's richest and most disturbing meditations on social reality.
Combustible Celluloid - 10/10 by Jeffrey M. AndersonIt's intelligent, often brilliant, and sometimes technically groundbreaking, but also infuriating, baffling, and even repellent.
New York Times - 7/10 by Vincent CanbyNumero Deux, which is technically stunning, offers no answers, only paradoxes, but in those paradoxes there exists the possibility of increased self-awareness.
Ozus' World Movie Reviews - 6/10 by Dennis SchwartzOne of the noted filmmaker's better and more subversive films.
User Review - 10/10 by Francisco FPartant du projet de faire un deuxieme A bout de souffle (d'ou le titre), JLG fait tout a fait autre chose... Et on l'en remercie, puisqu'il choisit judicieusement de s'attaquer a une question de son temps : le rapport entre television et politique, qui lui permet, au passage, de definir ce qu'est une machine. On ne le dira jamais assez : tous les chemins menent a Godard.
User Review - 10/10 by Andrew RA very innovative, if a little difficult to grasp, film. Extremely philosophical, poetic and political. The dialogue needs you to go back to watch it again just to grasp it, becuase it's difficult to get both both image and sound together and you have to go back to really get the full meaning. a wonderful film, one that sets you thinking about the scenes and dialogue, it helps if you know something about the contemporary philosophy of that time and Godard's beliefs.
User Review - 8/10 by Kirk JEven if a lot of this doesn't work, I admire Godard and Miéville for sheer audacity. A plot synopsis feels a bit beside the point for this film, but the "story" (not much actually happens) concerns a nuclear family (father, mother, son, daughter) in a cramped apartment. The parents have sex a lot and the children watch sometimes, and there are many conversations in between. These sequences, which appear to have been shot on video, are played on monitors which Godard has re-shot in 35mm, sometimes putting as many as three monitors in the same frame (and more than that if you count superimposition). The whole film seems quite daring. I'm not sure how much of that is the filmmakers' intention and how much of it comes from growing up in a context where sex is feared and hated. There is certainly no way this ever could have been made in the USA. In one scene, for example, as we watch the mother showering her naked daughter, the girl asks, "Do all girls have a hole? Is that where memory comes out?" and in another scene the parents, lying naked in bed, explain their genitals to their children. ("With this mouth," the father says, pointing to his penis, "we kiss the lips of love.") The film is bookended by segments where Godard examines the film itself and his thought process in making it. This being Godard, that of course only makes everything even more confounding rather than clearer, perhaps even moreso here than usual, because instead of his typical assertiveness, his comments here are drowned in self-doubt. This means the film is not just about what's happening to the family and the ideas and analogs Godard extracts from that aspect (which touch on Vietnam, Maoism, and feminism, to name a few) but it's also about the making of the film itself, and it's about Godard's filmmaking efforts in the larger context of the world that is already being examined within the film itself. To put it mildly, there's an almost excessive amount of levels to this work.
User Review - 8/10 by Greg WOne of the few times Godard went in full-blown experimentation mode and it WORKED. I still remember some scenes as being truly disturbing.
User Review - 8/10 by Alex BA supremely dialectical film (landscape and factory, sex and politics, male and female, sound and image, etc.). And a Godardian porno?
User Review - 6/10 by Tom DAn experimental film, I initially found this difficult to get into. A Marxist analysis of the family, and the blending of home and factory (and a variety of other concepts) it is too overtly polemical for my taste, despite some excellent moments.

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