Numéro deux begins with a long monologue by Jean-Luc Godard, in an editing suite. Godard discusses his move to a smaller place from Paris, the finances required to make a film and alludes to the relationship between machines and people, bodies as factories and landscapes and the idea that a film studio is a factory in which he is both worker and the boss. During this opening sequence of the film, we are presented with television monitors featuring characters who will return in the main section later on. They remain enigmatic at this stage. The film carries these same nominally contradictory themes to observe the life of the sexuality and economics in a family in a social housing complex in France. The family shares the same preoccupations in more earthy ways: a woman’s body is described as electricity, charging up and decharging. The bodies of the father and the mother are landscapes or factories. Sexual activity is predicated on what happens at work; sex is work. Godard, and later in the story, Sandrine and Pierre, describe these things as not being contradictory, but flowing from one to another through the word “and”. For example, a woman is a landscape and a factory, the film is neither political nor pornographic, it is both. Sandrine says: Pleasure is complicated, whereas pain is simple. Finding pleasure in pain or oppression leads to fascism, she states.

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