A Married Woman () is a 1964 French drama film directed by Jean-Luc Godard, his eighth feature film. Plot Charlotte is a woman in her twenties, married to Pierre, an affluent man in his later thirties or forties. Pierre's passion is flying, and he flies his own private plane, after previously having been an air force pilot. Pierre has a young son, Nicolas, from his first marriage, which dissolved when his wife left him for another man. Pierre, Charlotte, and Nicolas live together in a modern apartment outside Paris. Charlotte spends her days going to cafes, shopping, swimming, at the cinema, reading women's fashion magazines, or with her lover, Robert, an actor. Pierre believes that Charlotte's affair is over, having previously confronted her with evidence from a private investigator. As the film opens, Charlotte and Robert are in a Paris love nest that Robert has rented. They make love, and he repeats an earlier request that Charlotte divorce Pierre to marry him. Leaving the apartment, Robert drives Charlotte to the department store Printemps, where she says she is going to buy new bras. (Indeed, the film is permeated by shots of advertisements for bras and Charlotte's monologues or dialogues about breast size and body image.) However, instead of shopping, she cuts through the store and Charlotte takes a series of taxis to avoid a private investigator who she thinks is still following her, and she goes to collect her stepson from school. They go to an airport to collect Pierre and his colleague, the filmmaker Roger Leenhardt, who have returned from Germany in Pierre's private plane. While in Germany, Pierre and Roger attended sessions of the Frankfurt Auschwitz Trials, and both men have an interest in the Holocaust. They go back to the couple's apartment for dinner. After dinner they discuss the Holocaust and move to the question of memory and one's relationship to the past and present. After Roger's departure, Charlotte and Pierre play-fight and make love. The next morning, the maid tells Charlotte a story of a ribald love-making session with her own husband. For this narrative, Godard borrowed from Louis-Ferdinand Céline's Death on Credit, which he acknowledges indirectly in the film. Charlotte then attends a fashion photo-shoot at a swimming pool and eavesdrops at a nearby café as two teenage girls discuss their love lives and first sexual encounters. Charlotte goes to the doctor and learns that