People are voting emotionally.

The movie's not perfect, but it sticks the landing of its message. It was engaging - thrilling at times - and I personally thought it was a great time.

Unshakable, witty and deeply felt, the film will be paying emotional dividends for a long, long time.

The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.

Juliette Jeanson (Marina Vlady) is seemingly a regular mother and housewife but she also prostitutes herself in the modern Paris being constructed. Filmmaker Jean-Luc Godard presents a faux documentary and an essay on modern life. He spins snippets of stories of Juliette as well as other women injecting American imperialism, Vietnam War and commercialism. This is not really a story. It is a different kind of movie. It is an essay. It is a jumble. It leaves the viewers with a feeling and a sense of a time and place. Godard is getting tired of the modern world being taken over by American commercialism and this is his thesis.

Directed by Jean-Luc Godard (À Bout De Soufflé (Breathless), Alphaville, Pierrot Le Fou), I wanted to watch this French film purely because it featured in the book 1001 Movies You Must See Before You Die, I never would have heard of it before reading about it. Basically this film does not tell a story, it is more a study of modern life, with almost everything you can think of put in, according to the director, sports, politics, even groceries, Godard narrates himself in a whispered voice. There is no conventional cinematic narrative, it sees one day in the life of Juliette Jeanson (Marina Vlady), her life is sophisticated but empty, she is a married mother but involves herself in prostitution, and after dropping off her screaming child her day is uneventful with the usual daily routine, shopping, housework and child-rearing, and appointments with clients, seen as banal rather than erotic. Also starring Anny Duperey as Marianne, Roger Montsoret as Robert Jeanson, Jean Narboni as Roger, Christophe Bourseiller as Christophe Jeanson, Marie Bourseiller as Solange Jeanson, Raoul Lévy as John Bogus, the American, Joseph Gehrard as Monsieur Gérard and Juliet Berto as Girl talking to Robert. The performance of Vlady obviously keeps whatever is going on flowing, but in fact the real "her" of the title is Paris, with all the images seen and sounds heard it combines to form a most interesting sociological essay, I agree it is somewhat dated, but is indeed still daring and a mostly splendid experimental drama. Good!

Director Jean-Luc Godard came from the old school of filmmaking, the way Andrew Sarris approached looking at a film, watching a movie and understanding it as if it was a novel or some literary product- you could start at the beginning, and follow a line of thought through to the end. Breathless may have been his biggest hit, because it was his most easily accessible film, referencing Film Noir and Bogart all the way through to tap into the American love of thriller.Living in a constantly renovating Paris, Juliette Janson (Marina Vlady) lives with her husband struggling daily with making more money and keeping pace with the ever-expanding consumerism of the urban environment. Juliette has taken to prostitution to make more money for the household and in an afternoon meeting she and a friend supply pleasure for an American gentleman. The act has a depleting effect on her but she accepts it in order to keep up with the growing economic pressures of marriage and family.2 or 3 Things I Know About Her feels like a far more mature work as the director uses a variety of techniques to get his point across. In one scene where Juliette and a friend entertain the fetishistic attentions of a "John" in and afternoon tryst while wearing airline carrying bags over their heads is, even by today's standards, super-kinky and LMAO-funny as well. This is definitely not one of those easily accessible movies that consist of a comic book mentality, but one that trusts its audience to be interested and stick with it until the last brittle image of a variety of consumer products laid out across a green suburban lawn.Writer Catherine Vimenet, and Jean-Luc Godard make the most of a sound track that has the director practically whispering conspiratorially to an audience as he tells the tale of the main character. It's a mammoth project, and very sophisticated, but Godard doesn't spoon-feed any of us. He's got something to say, and to make sure you listen he whispers it with urgency on a soundtrack that alternately explodes with the sounds of construction in the city of light.Far from being out of the ordinary, this particular style of filmmaking is something Goddard seems to prefer over the structured narrative forms of some other "New Wave" filmmakers. The narrative includes a distancing effect on the viewer so that no mistake can be made between story teller and intended listener. One particular stand-out section includes an extreme close up of sugar being stirred into a cup of coffee as Goddard's narration reflects on the sound track about how meaning in our lives is achieved through perception- a typical Goddard viewpoint that her was in its incipient stages.If 2 or 3 Things I Know About Her leaves you cold, it may be due to your own perception of what cinema is and how film narrative functions to involve the viewer. Goddard is still a filmmaker at heart, and his use of cinematographer Raoul Coutard to create an alluring visual palette for the viewer is impressive to say the least. Coutard is known for his work on a handful of characteristically "New Wave" films, Breathless in 1960, Jules and Jim in 1962, Z in 1969, and Pierrot le Fou in 1965. The imagery he creates here serves the film well, and may have you coming back for more.

Jean-Luc Godard has been known for his intellectual observations and criticisms. This film is no exception, it is one of the director's masterpieces, a film of unique intellect and style, a movie in which feels almost like a documentary with many characters narrating their actions, along with Godard who whispers personal opinions and observations into the camera. The film is miraculous in its acute social observation along with its discussion of almost every facet of Paris life given both a realistic context by Godard and his pseudo-documentary approach and a fictional context by the actors, creating for us a sort of double-sided film of both fact and fiction, of satire and drama, and of love and hate. As with almost all Godard films, subjective to those not familiar with his sense of structure, but an essential viewing for the intellect.