In 1970, Godard and Jean-Pierre Gorin... continued their run of politically-inspired work—nominally Maoist but locked in conflict between doctrine and image—with a Brechtian farce of the trial of the Chicago Seven. What emerges is a probing psychological analysis of the modern radical as well as an incipient effort to speak in a new voice in another court: Godard and Gorin themselves, raising a racket on a tennis court with the help—or, rather, the decisive hindrance—of a low-tech feedback loop.
Vladimir et Rosa, an attack on the farcical trial of the Chicago Eight, is one of Godard’s funniest films. . . . The trial itself is a chaotic farce in which the judge calls on the defendants simply so he can silence them, banging his gavel so incessantly that eventually just never stops pounding the podium, providing a metronomic rhythm to the judicial railroading.