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The article delves into Jean-Luc Godard's transition from his early cinematic period, characterized by eclectic experimentation and cultural references, to his Maoist phase under the influence of Jean-Pierre Gorin. Gorin, a Marxist critic, introduced Godard to postmodernist and Marxist theories, leading to a shift in Godard's filmmaking style and themes. This shift was marked by an overt critique of American capitalism and imperialism, as seen in films like "Two or Three Things I Know About Her" and "Week End."
Godard's collaboration with Gorin in the Dziga-Vertov Group produced politically charged films, but they received mixed reviews and were criticized for their didacticism and lack of artistic merit. The article also discusses Godard's personal life, including his marriages, his falling out with former colleagues like François Truffaut, and controversies surrounding his antisemitic remarks.

The article titled "Toward Ruin or Recovery?" by Larissa Phillips explores the author's personal experience with rape in Italy in 1993 and reflects on the recent allegations made by Celeste Marcus against Yascha Mounk. Marcus, the managing editor of Liberties journal, detailed her recovery process following an alleged sexual assault by Mounk, a colleague, two and a half years ago. Phillips criticizes the modern feminist response to rape, arguing that it fails women and victims of rape by perpetuating a sense of hopelessness and vengeance rather than focusing on practical solutions and support.

Phillips discusses how the feminist movement's efforts to redefine rape have led to confusion and ambiguity, with the definition expanding to include not only physical violence but also emotional pressure, manipulation, and lack of verbal consent. She references historical moments, such as the expansion of the definition of rape during feminism's second wave, and highlights the proliferation of rape culture discourse in the 1990s, particularly on college campuses.

Drawing on her own experience of being raped in Florence, Italy, Phillips recounts the assault and her attempts to resist, reflecting on the conflicting advice she had received about how to respond to such situations. She criticizes the notion that fighting back is not prioritized in feminist discourse, highlighting research that suggests physical resistance, when combined with other strategies, can increase the chances of avoiding rape.

Overall, Phillips argues for a more nuanced and practical approach to addressing sexual violence, one that combines support for victims with efforts to challenge and prevent rape culture. She calls for a reevaluation of feminist rhetoric and a return to strategies that prioritize empowerment and agency for women.

Published 20 March 2024 on Quillette.com. Written by Larissa Phillips. Read by Iona Italia.

The article discusses the legacy and final works of filmmaker Jean-Luc Godard, who passed away in 2022 at the age of 91. It reflects on Godard's unconventional career, marked by experimental films and shifts in style and ideology. It mentions his last known movie, "Le Livre d’Image," which received mixed reviews for its abstract and fragmented nature. The article also highlights a surprise film, "Vent d’Ouest," initially believed to be a work of Godard but later revealed as a hoax directed by David Legrand. It explores the complexities of Godard's cinematic approach, with some critics praising his innovation and depth, while others criticize his lack of narrative coherence. The article concludes by reflecting on Godard's most acclaimed film, "À Bout de Souffle," and its significance in cinematic history.

A restoration of history, in all its complexity, is critical to escaping the polarized, rigid, and often insane political environment we now inhabit.

New pharmaceuticals appear to offer a genuine solution to the problem of excess appetite, that uncontrollable urge to eat more than we need to that keeps so many of us fat.

‘Our New, Subscription-Based World,’ by the Quillette editorial board. Published at Quillette.com on April 10, 2023. Narrated by Jonathan Kay.