Is the family a landscape or is it a factory? And what about a mother, a father, a child? Godard’s first film after his Dziga-Vertov period was the result of multiple factors: his new partnership in life and work with Anne-Marie Miéville, his deep interest in video and his close relationship with Aäton founder Jean-Pierre Beauviala, who Godard followed to Grenoble. An extraordinarily complex work, a beehive of multiple images and sounds, generated by Godard’s excitement over video as a new creative and industrial tool.