Pauline Kael in The New Yorker on one of my favourite Godard films, Sauve qui pert (la vie), called Slow Motion in the UK and Every Man for Himself in the USA:

More than the fat has been burned out of Every Man For Himself: the juice has gone, too … If it were possible to have lyricism without emotion, that might describe the film’s style … I got the feeling that Godard doesn’t believe in anything anymore; he just wants to make movies, but maybe he doesn’t really believe in movies anymore, either.

What would it mean to write without believing in writing? Doesn’t Godard say elsewhere he intends to make cinema rather than films (writing rather than books)?