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A romance between young Parisians, shown through a series of vignettes.

Two crooks with a fondness for old Hollywood B-movies convince a languages student to help them commit a robbery.

A day in the life of a Parisian housewife/prostitute, interspersed with musings on the Vietnam War and other contemporary issues.

A small group of French students are studying Mao, trying to find out their position in the world and how to change the world to a Maoistic community using terrorism.

A superifical woman finds conflict choosing between her abusive husband and her vain lover.

In the near future, leftist writer Paula goes from Paris to the French town of Atlantic-Cité when she learns of the death of a former colleague and lover, Richard P. Is she there to investigate? On the surface, faces are beautiful, colors bright, clothes trendy. Beneath, little is clear: some talk to Paula as if she's Alice in Wonderland, corpses pile up, and ideological struggles insert themselves. A murder victim's nephew and a political party's hired hands hover around Paula. Is obscuring things her goal or is it life that's obscure?

Godard examines the structure of movies, relationships and revolutions through the life of a couple in Paris.

How do we learn? What do we know? Night after night, not long before dawn, two young adults, Patricia and Emile, meet on a sound stage to discuss learning, discourse, and the path to revolution. Scenes of Paris's student revolt, the Vietnam War, and other events of the late 1960s, along with posters, photographs, and cartoons, are backdrops to their words. Words themselves are often Patricia and Emile's subject, as are images, sounds, and juxtapositions. In addition to the two characters' musings, the soundtrack includes narration, music, news clips, and noise. The result is a montage, a meditation, a reflection on ideas and how words and images mix - and how filmmaking is a path.

Five short stories with contemporary settings. In New York, people are indifferent to derelicts sleeping on sidewalks, to a woman's assault in front of an apartment building, and to a couple injured in a car crash. A man, stripped of his identity, dies in bed with actors expressing his agony. A cheerful, innocent young man walking a city street in a time of war pays a price for this innocence. A couple talks about cinema while they watch another couple talk of love and truth on the eve of one character's return to Cuba. Striking students take over a university classroom; an argument follows about revolution or incremental change.

A filmic essay on class struggle which draws on images from westerns but has no plot and is both an experiment in making a revolutionary film and an interrogation of how successfully such a film can be revolutionary.

In Godard and Gorin's free interpretation of the Chicago Eight trial, Judge Hoffman becomes Judge Himmler (who doodles notes on Playboy centerfolds), the Chicago Eight become microcosms of French revolutionary society, and Godard and Gorin play Lenin and Karl Rosa, respectively, discussing politics and how to show them through the cinema.

Daniel needs some money to buy a duffle coat that is in fashion, so he agrees to work for a photographer by dressing up as Santa Claus. He discovers that it is much easier to meet girls when he is in his costume.

Workers on a car factory argue with revolutionary students.

The film reveals how and why a supposedly revolutionary Italian girl has in fact fallen prey to bourgeois ideology.

Julien is a left-leaning student whose politics and love interest end up clashing as the young man makes a long, epic journey through his years at a private school in Paris when Algeria is fighting France for its independence, up to his time spent as a courier for Algeria's National Liberation Front (known by their French acronym, the FLN). While at school, Julien already had a conflict with his good friend Gilles and the right-wing politics that Gilles embraces. This relationship will come to have a crucial bearing on the future, as Julien continues on his path to maturity.