Masculin Féminin

• Jean -Pierre Léaud: Paul
• Chantal Goya: Madeleine
• Marlène Jobert: Elisabeth
• Michel Debord: Robert
• Catherine -Isabelle Duport: Catherine -Isabelle
• Eva -Britt beach mountain: you (woman in the film)
• Birger Malmsten: He (man in the film)

Masculin - Feminin or: The Children of Marx and Coca -Cola is a French film by Jean -Luc Godard from 1966 The screenplay is loosely based on two Guy de Maupassant stories, Le Signe and La Femme de Paul. . The film was shown in Germany for 35 years, only in the original version with German subtitles, to ZDF 2001, a dubbed version produced.

Action

Paris in winter 1965: Paul has finished his military service and fight against the invasion of the U.S. military in Vietnam. With his friend Robert, he sticks posters against the Vietnam War and worked briefly for a newspaper. Madeleine wants to be a famous singer and takes a first record on. Paul falls in love with her, but she appears disinterested, because she wants to remain independent. After being thrown out of his apartment, he moves in with Madeleine and her friends Catherine and Elizabeth.

Since Madeleine is successful in the music business, she talks in Paul's courtship, and soon the first child on the way. It has now been found in a research institute work, where he interviewed French women according to their purchasing behavior, although he opposes capitalism negative. Due to their career Madeleine is often for a long time on the road, what Catherine is very pretty, as their growing interest in Paul. When Robert confesses that he is in love with her, she gives him a basket. Madeleine and Paul wish to pull together now and an apartment viewed, but their plan is rudely ended when Paul falls exactly out of that high-rise building, in which he wanted to move in with her.

Reviews

The lexicon of international film wrote, with this film start Godard's interest in the " dialectical materialism " and in politics, but in a very peculiar sense: he wanted to " make political films" not " political films " but. The fragmentation of the story and the " linger at the edge of events" that have no direct relation to her, had been understood to suggest how difficult it is today to establish commonality. It seems, as if the individual had to retreat further and further into the private realm from the forces of collectivization.

Awards

At the Berlinale 1966 Jean-Pierre Léaud was awarded the Silver Bear for Best Actor. The film itself was nominated for the Golden Bear.