Une femme est une femme 1961

Glenn Lovell, San Jose Mercury News: The partially improvised performances, especially that of Karina, who would go on to star in Godard's much darker My Life to Live, are spirited and fun. Read more

Terry Lawson, Detroit Free Press: A Woman Is a Woman may not have the urgency or the contradictions that made early Godard an icon, but in its new incarnation, it takes us back to a time when he could still provide the makings of a good argument. Read more

Michael Wilmington, Chicago Tribune: Une Femme Est une Femme moves us now because it's so playful and the players are so young. Read more

A.O. Scott, New York Times: Godard's whimsical celebration of romance, sentiment, musical comedy, color film, the city of Paris and the abundant charms of Ms. Karina herself, who at the time was also Madame Godard. Read more

Jonathan Rosenbaum, Chicago Reader: It is perhaps most memorable for being a highly personal 'documentary' about Karina and Godard's feelings about her at the time, brimming with odd details and irreverent energies. Read more

Ty Burr, Boston Globe: The most playful film to come out of the French New Wave, it's also the last time Jean-Luc Godard appeared to have any fun. Read more

Lisa Kennedy, Denver Post: A charming document of the great filmmaker's fanciful yet serious dreams for cinema. Read more

Andrew Sarris, New York Observer: If Anna Karina, Jean-Claude Brialy, Jean-Paul Belmondo, the recorded voice of Charles Aznavour and a thrilling glimpse of toplessness (circa 1961, at least) in a sleazy strip joint called the Zodiac Club don't turn you on, then tant pis! for you. Read more

Roger Ebert, Chicago Sun-Times: A Woman Is a Woman is slight and sometimes wearisome. Read more

Time Out: The result is brash, defiant, gaudy and infinitely fragile. Read more

Jessica Winter, Village Voice: Godard light, but not lite: Its breezy postures front for melancholia. Read more