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Koumiko, a young Japanese woman, tells French filmmaker Chris Marker about herself and her life during a lull in the 1964 Tokyo Olympic games. The result is partly a documentary, partly an exercise in montage, which carries some of the flavor of Godard. Bringing all of the technology of the cinema to bear on a single human being, Marker nevertheless fails to fully understand her—which is the point his film sets out to make (1965).

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