she is pregnant. She does not know which man is the father and asks the doctor about contraception, leading to a discussion of the relationship between love, sexual pleasure, and conception. Charlotte then goes to Orly Airport for an assignation with Robert, as previously arranged, before he has to fly to Marseille to act in a production of Racine's Bérénice. They meet in the back of the airport's cinema, during a screening of Night and Fog, Alain Resnais's documentary about the Holocaust. Partway through the film, they leave the theater separately and rendezvous at the airport hotel to make love. During their time together, Charlotte questions Robert about love. They hold hands on the mattress of the bed, echoing the opening shots of the movie. As Robert prepares to leave, they both say – one after the other – C'est fini ("It's over."). Cast Macha Méril : Charlotte Bernard Noël : Robert, the lover Philippe Leroy : Pierre, the husband Roger Leenhardt : Pierre's friend, the filmmaker Rita Maiden : The maid Margaret Le-Van : a woman at the swimming pool Véronique Duval : another woman at the pool Christophe Bourseiller : Nicolas André Lesourd : "Dédé" the mechanic at the airport Background Whilst in Cannes in May 1964 Godard met Luigi Chiarini, the director of the 1964 Venice Film Festival, and offered to make a film that would be completed in three months in time to premiere at Venice – the festival would run from August 27 to September 10. The film would be the story of a woman, her husband, and her lover, and the woman would find out that she is pregnant and not know whose child it is. The situation was mirrored to a great extent in François Truffaut's La Peau Douce, a film Godard admired, that had been based on the story of Truffaut's own infidelity. Godard wrote to Truffaut telling him he would take his film in a different direction if he thought his project too similar. Yet while Truffaut's film was a 'compact, classical melodrama' Godards would be 'an explicitly and stringently modernist film', the melodrama subordinated 'to a surprisingly abstract style of filming'. Having liked André Cayatte's pair of films, Anatomy of a Marriage: My Days with Jean-Marc/Anatomy of a Marriage: My Days with Françoise – L'Amour conjugale, 1963, Godard chose Macha Méril, an actress who had featured in both in a