Outstanding Techniques Godard Used in the Movie 'Breathless'

History of French Cinema Oral Presentation
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How does the weekly reading exemplify (or challenge) the film that is listed this week on the syllabus?
Ladies and gentlemen;
I am discussing the relationship between the week's readings and the film Breathless directed by Jean-Luc Godard, which I believe we all enjoyed watching. I shall discuss four of the outstanding techniques Godard used in the movie. They include editing techniques, scene lighting, sound, and camera movement.
Editing in the film Breathless does not follow the conventional editing methods, with most scenes being fragmented, leaving many hanging ideas. The characters in the film manifest to the audience in bits, leaving the audience with questions (Godard, 1960, p.214). For instance, the audiences learn that Michel and Patricia knew each other before, but the film does not provide a flashback to cement the claim. Patricia also tells Michel that she is pregnant for him intending to see Michel's reaction but does not show why she conceals the information. In most cases, the audiences expect that the perpetrator would use such information for blackmail or to pursue a specific goal. However, the part is left out intentionally to create suspense and engage the audience.
Another instance of fragmented scenes due to strategic non-conventional editing is when Michel goes to the "garage" to steal a car leaving Patricia waiting in the café. In this scene, Godard includes several jump cuts, with more than ten shots that do not tell a consistent story. It cut jumps back and forth from Patricia waiting for the car and Michel trying to open several car doors intending to steal one. Michel runs to the left in one shot and right in the following, indicating fragmentation that makes the audience create rhetorical questions. The outstanding instance in this scene is at 00:53:13 when Michel tries opening a car door, and a person, probably the car owner, appears from behind, expressing shock through his body language. However, the audience does not know what happened next because the scene jump cuts to Michel passing a man getting out of a convertible car that Michel finally steals.
Before stealing the car, Michel seems to run after the car keys from the owner, who approaches a building dressed in a white t-shirt. Initially, Michel runs to the left, but immediately the shot jump cuts to Michel running to the right following the man. The fragmentation in this scene continues as Michel gets out of the elevator, and the next shot is him in the car and picking Patricia. Godard skips the shot of Michel starting the vehicle (00:53:25-00:54:30). Therefore, the audience is likely to ask rhetorical questions about the scenes left out. For example, there might have been a possible confrontation between Michel and the first car owner, who found Michel trying to break into the car, as Godard mentions in chapter 6 (1960, p. 217). Additionally, Michel might have taken caution before breaking into the vehicles, but the film does not show that. Godard might be trying to show the audience the trick of smart pick-pocketing, especially when Michel takes the car keys in the dark elevator without the owner noticing it. The audience does not see Michel ...