Rhetorical provocations abound (“Is it possible to produce a concept about Africa?” “Is society willing to accept murder as a means to fight unemployment?”),
(...)
In addition to conventional stereoscopic effects, Godard experiments throughout with the placement of entirely different images in each eye, resulting in a series of strange superimpositions that almost seem to enter a fourth, unclassified dimension.
(...)
What does it all mean? Everything and nothing; that the world is going to the dogs or perhaps a dog’s world after all; that cinema is on its last legs or just maybe on the cusp of renewal. As in all Godard’s best work, precise meaning is subsumed in an exhilarating tide of sound and light, impish provocations and inspired philosophizing.