Vladimir and Rosa

Vladimir and Rosa is a 1971 French film directed by Jean-Pierre Gorin and Jean-Luc Godard, two of the driving forces behind the French New Wave film movement. The film features performances by Yves Afonso, Juliet Berto, and Godard himself. The co-directors Godard and Gorin are also part of the Dziga Vertov group - a filmmaking collective intent upon producing political cinema, and this film does not shy away from the group’s radical leftist orientation.

The film takes its name from two iconic revolutionaries: Vladimir Lenin and Rosa Luxembourg. However, the narrative of the film does not center on these historical figures, but on another historical event in contemporary US history: the trial of the Chicago Eight.

The story centers around the 1969 trial of the Chicago Eight, a group of activists who were charged with conspiracy and inciting to riot during the protests at the 1968 Democratic National Convention in Chicago. This event had deep political implications and stirred significant controversy globally. The Eight came from various counter-cultural and radical political groups of the time - such as the Youth International Party or 'Yippies', Students for a Democratic Society, the National Mobilization Committee to End the War in Vietnam, and the Black Panther Party.

However, Vladimir and Rosa is hardly a conventional judicial drama or historical re-enactment; rather, it is a politically charged satirical critique of the trial and of the American judicial system of the time. Godard and Gorin use an interesting narrative strategy by presenting themselves in the roles of amateur filmmakers named Vladimir and Rosa, documenting the trial, satirizing the whole process, and through this process, exploring the intersections of personal life and political activism.

Throughout the film, they explore various means to express their political messages such as direct cinema cinema verite, documentary footage, television news clips, animation, re-enactment, and others, examining not only the pivotal political event but also the representation and mass mediation of such political events.

Being Godard's work, this film is fragmented and non-linear, with frequent text overlays, repeated imagery, and fourth-wall-breaking commentary from the characters. This unique aesthetic adds to the movie's exploration of political filmmaking and its critique of dominant narrative forms prevalent in commercial cinema.

The performances from Yves Afonso and Juliet Berto are commendable, and Godard, who often appears in his films, jarringly takes an active role in this movie. Their performances add to the film’s fundamental and radical critique of the existing social structures.

Among the important themes that the film engages with are the Vietnam War, the civil rights movement, the dynamics of law, of power, and the media's involvement in these aspects. However, they are not discussed in an explicit, or straightforward manner; instead, they are embedded into the provocatively disjointed narrative structure. The film also grapples with themes of revolution and the role of filmmaking itself in socio-political movements.

Vladimir and Rosa is a complex and challenging film that requires active participation from viewers. With its raw and gritty critique of U.S. authorities and its political system, the film is a crucial example of the commitment Godard and his filmmaking colleagues had to challenge the status quo and explore new ways of understanding cinema.

In conclusion, Vladimir and Rosa is a film that reflects the tumultuous period of late 60s and early 70s while also encapsulating the intentions of a radical filmmaking collective. For any admirer of Godard's work or those interested in political cinema, this is a movie that offers a significant blend of historical events, political commentary, and a revolutionary filmmaking approach.