the diner. Sometime later at a restaurant, Nana writes a letter asking for work (presumably as a prostitute) to an address Yvette gave her, describing herself and her physical features. Raoul sits down next to her and advises her to stay in Paris, where he can help her make more money. Nana agrees to work for him and they kiss. She quits her job at the record store and abandons her dream of becoming an actress. Raoul explains the basics of prostitution to Nana, including how to conduct herself, how much she charges and earns, when and where she works, the laws and what to do if faced with an unintended pregnancy. Nana soon begins to attract several clients. On one of Nana's days off, Raoul takes her to meet his friends at a bistro, where she dances to a song playing on a jukebox. The men are mostly uninterested, except for a young man playing at a billiard table who buys her a pack of cigarettes. While on the street, Nana picks up a client and takes him to a nearby hotel. The man requests she ask other prostitutes in the hotel to join them, but once one does, the client no longer wants Nana to join, so she sits on the edge of the bed and smokes. Nana is now a seasoned prostitute and blends in with the others on the streets. She is in a hotel room with the young man she had met earlier at the bistro, who reads aloud a passage from "The Oval Portrait" by Edgar Allan Poe. As Nana and the young man express their mutual adoration, she decides she wants to live with him and quit prostitution. When Nana confronts Raoul, they argue, as he was planning to sell her to another pimp. Raoul forces Nana into his car and drives her to the pimp's meeting place. However, the transaction falls through and Nana ends up being killed in a gun battle. The pimps flee the scene, leaving Nana's body lying on the pavement. Cast Production The film was shot over the course of four weeks for $40,000. Style In Vivre sa vie, Godard borrowed the aesthetics of the cinéma vérité approach to documentary film-making that was then becoming fashionable. However, this film differed from other films of the French New Wave by being photographed with a heavy Mitchell camera, as opposed