テレビのルポタージュ的クローズアップの発明によって、ニュース的なドラマが、テレビの小さな四角形の画面に現れた、とグレン・グールドは指摘したことがある。Tout va bien（万事順調）か、Tout ne va bien pas（万事窮す）か、ジェーン・フォンダが友情出演した、その映画は、テレビ局のストライキを舞台にしている。
After declaring the end of cinema at the end of Week End (1967), Godard embraced a more experimental, revolutionary aesthetic with the Dziga Vertov Group, a Marxist filmmaking collective he formed with leftist radical Jean-Pierre Gorin. Though ostensibly the last of the group’s features, Tout va bien marks the stylistic halfway point between the collective’s Brechtian approach to political discour...se and Godard’s more accessible, fiction-based work of the 1980s. Indeed, the plot, featuring a strike at a factory and a film director, shares certain similarities with Passion (1982), but, unlike the more elusive political narratives that would follow, Tout va bien is a specific reflection of the years following the events of May 68. Letter to Jane (1972), a mid-length postscript to the film, was the final Godard-Gorin collaboration, and is more in keeping with the collective’s ethos.
1972 Tout va bien Corealise avec Jean-Pierre Gorin Directeur de la photographie;Armand Marco Montage;Kenout Peltier. Claudine Merin Son;Bernard Ortion,Antonie Bonfanti Production;Jean-Pierre Rassam Avec Yves Montand, Jane Fonda, Vittorio Caprioli, Anne Wiazemsky
