Masculine Feminine 1966

In the bustling streets of Paris, Paul, a youthful idealist with fresh military service under his belt, embarks on a quest for purpose. His search leads him to a cozy café, where he crosses paths with Madeleine Zimmer, a talented young singer with a burning desire to record her own music. As fate would have it, they bear witness to a tumultuous scene unfold before their eyes - the violent altercation between a woman and her partner culminates in tragedy as she pulls out a gun and fires. The gravity of the situation serves as a poignant reminder of the turbulent times in which they live.

As Paul navigates his new reality, he finds himself drawn into the world of journalism, signing a petition with his friend Robert Packard, a seasoned journalist who is passionate about championing artistic expression. With this newfound connection, Paul begins working for a magazine, where he faces a moment of truth when he confronts Madeleine in the bathroom. His hopes of going out on the town are met with skepticism as she clarifies her intentions, leaving him feeling deflated and confused.

As Paul approaches his 21st birthday, he finds himself increasingly entwined with Madeleine’s life. She introduces him to her roommate Elisabeth Choquet, a kindred spirit who shares their passion for music. Meanwhile, Robert is smitten with the captivating Catherine-Isabelle. As tensions escalate in Vietnam, Paul and Robert take to the streets of Paris, plastering posters and painting defiant messages on the side of a U.S. Army car - a bold declaration of their opposition to the war.

On a train ride through the city, Paul bears witness to an unsettling encounter between a white woman and two black men, which culminates in violence as she fires her gun. As the days pass, Madeleine’s record release date draws near, and Paul finds himself torn between his excitement for her musical debut and his own hopes of proposing. In a moment of vulnerability, he records a heartfelt message for Madeleine in a coin-operated record booth, only to be approached by a mysterious stranger wielding a knife.

Later, Paul confides in Robert about the eerie feeling that he’s being followed. Robert, engrossed in his newspaper, regales Paul with tales of Bob Dylan, the iconic singer-songwriter who has become a symbol of counterculture and rebellion. As the stakes continue to escalate, Paul is left grappling with the complexities of love, art, and activism in the midst of a turbulent world.

As Paul settles into his new domestic arrangement with Madeleine, Elisabeth, and Catherine, he makes a significant career shift, abandoning his magazine job to join the ranks of IFOP as a pollster. This newfound profession allows him to engage in thought-provoking conversations with individuals like Elsa, whose candid responses offer a glimpse into the complexities of politics and love. Meanwhile, Paul shares the news of Madeleine’s pregnancy with Elisabeth, but her skepticism is palpable. As they navigate the café scene, they coincidentally encounter a theatre director imparting direction to an actress, serving as a poignant reminder of the blurred lines between reality and performance.

As the group ventures to the cinema for a film screening, Madeleine takes the opportunity to confess her love to Paul, who temporarily exits the theatre to express his dissent with Charles de Gaulle through a bold act of street art. This fleeting moment of rebellion is later echoed in Robert’s conversation with Catherine, where he posits that she harbors romantic feelings for Paul, thus perpetuating Godard’s notion of the worker as revolutionary and work as revolution.

In a striking turn of events, a stranger borrows matches from Paul and uses them to self-immolate, leaving behind a poignant message advocating for peace in Vietnam. As the group visits Madeleine at a recording studio, she appears distant towards Paul, only to rekindle their connection after encountering a reporter. Paul’s response is to impersonate a military general and demand a car, which eventually arrives, allowing him, Madeleine, and Catherine to depart the premises.

Throughout January to March 1966, Paul continues conducting opinion polls on politics, love, and other topics, ultimately realizing that his unconscious lack of objectivity has resulted in insincere responses from those he polled. This epiphany marks a turning point for Paul as he grapples with the implications of his work. At a police station, Catherine recounts to an officer that Paul has purchased a high-rise apartment, which Madeleine had hoped to share with Elisabeth, a decision Paul vehemently opposed. The officer’s inquiry into the circumstances surrounding Paul’s reported fall from a window sparks debate among the trio, with Catherine firmly convinced that it was an accident rather than a suicide attempt. As Madeleine navigates her pregnancy, she confesses uncertainty about her future plans to the officer.