on digital video and takes full advantage of its crispness and vivid color, as well as its potential for distortion and garish hues, to entrancing effect; the film also sometimes stutters and skips like a wonky disc, reminding you, as ever, that you’re watching a movie, a construct. He shoots on breezy decks with no windscreen on the mic, capturing atmospheric rumble along with dialogue, one of a number of disjointing sound strategies. And then there are the subtitles. The Kino Lorber edition comes with two sets: English subtitles for what’s actually said in six languages, and Godard’s own custom-crafted “Navajo” English subtitles, with sentences of dialogue and voice-over reduced to a few words and neologisms. If you’re not a polyglot European, you’re missing part of the point. Yet another audacious effect in a most surprising film.