Godard’s editing in Breathless mirrors the relationship Michel has with life: quick, exciting and callous. The multiple jump cuts fragment the storyline. Godard leaves gaps in the continuity which makes it very hard for the audience to hold on to the film narrative and connect with the character Michel: accidental murderer. That is until we are introduced to Patricia: a wannabe journalist. And then meet the more vulnerable side of our protagonist… significantly in the bedroom scene. The exposed nature of this scene brings a more realistic component to the film – it mainly consists of two-shots, rather than mid-shots of the main characters separately – which portrays intimacy and a romantic aspect. Godard’s take on the ‘French New Wave’ movement (which he helped invent) is brutal and charming all at the same time; defying all classical rules of cinema.