La Chinoise Script ((install)) Jun 2026

The other characters—Guillaume (the actor), Yvonne (the worker), and Kirilov

This article explores the unique nature of the La Chinoise script, examining its origins in the turmoil of the 1960s, its rejection of psychological realism, and its enduring legacy as a manifesto for radical filmmaking. la chinoise script

Characters often speak directly to the camera or acknowledge the film crew, breaking the "fourth wall" and turning the script into a medium for philosophical inquiry rather than just storytelling. Visual and Graphic Writing Often subtitled “ou plutôt à la chinoise” (or

The narrative centers on a plan to assassinate a Soviet cultural attaché, though the script prioritizes ideological discussion over action. Veronique eventually carries out the assassination attempt, but she accidentally kills the wrong man, highlighting the gap between revolutionary theory and reality. a Chinese film)

The script frequently incorporates a documentary film crew that interviews the characters, blurring the line between fiction and reality. Stylistic and Philosophical Techniques A Fight on Two Fronts: On Jean-Luc Godard's La Chinoise

In the pantheon of French New Wave cinema, Jean-Luc Godard’s La Chinoise (1967) occupies a singular, volatile space: a film that is less a narrative and more a manifesto. Often subtitled “ou plutôt à la chinoise” (or rather, a Chinese film), the movie is a claustrophobic, brilliantly colored explosion of Maoist theory, student radicalism, and pop art aesthetics. To study the script of La Chinoise —published as La Chinoise: A Film by Jean-Luc Godard —is not to read a traditional screenplay, but to hold a blueprint for a political seminar, a revolutionary pamphlet, and a work of conceptual art.