Following 1972’s Tout Va Bien, Jean-Luc Godard all but abandoned narrative filmmaking, holing up in Grenoble with Anne-Marie Mieville, working solely on video, issuing sparse missives which deconstructed filmic form. Touted as his «second first film,» Every Man for Himself (Slow Motion), while not exactly a return to the Godard of the ’60s, presented a more welcome incarnation, a recluse reformed as a feature director, once again fiddling with narrative form from the inside.

– Jesse Cataldo, Slant Magazine

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