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The soundtrack of the film begins with the story of a kidnapped ALCOA executive but abruptly changes the subject to a lengthy lecture on the history and political context of revolutionary cinema, including Marxist–Leninist self-critique, and a critique of Hollywood's film industry.
The film reflects Gorin and (especially) Godard's interest in divorcing sound from image, as a means of reinventing the language of "bourgeois" commercial cinema.