Passion is a 1982 film by Jean-Luc Godard, the second full-length film made during his return to relatively mainstream filmmaking in the 1980s. Set in winter in Switzerland, it is about the making of an ambitious art film that uses re-creations of classical European paintings as tableaux vivants, set to classical European music. Only incomplete scenes of the film within the film are shown, because it has no settled plot and never gets finished. While making it, the crew become involved in various ways with the locals, some of whom are recruited as extras. Plot Jerzy is a Polish director, making a film at a studio in Switzerland which contains a series of tableaux vivants. His producer László is impatient because there is no apparent story to the film and Jerzy keeps delaying and cancelling shoots, repeatedly citing difficulties with the lighting. During the filming, Jerzy gets involved with two local women: Isabelle, an earnest young factory worker with a stutter, and Hanna, the worldly German owner of the motel where the crew are staying. Hanna is married to Michel, a difficult man with a chronic cough who owns the factory where Isabelle works. Isabelle is fired from her job and attempts to organize her fellow workers to strike – not for her sake, but for their own. The film crew is meanwhile recruiting factory workers as extras for the tableaux that Jerzy is shooting. Jerzy continues to search for the right lighting in the studio and to try to manage an increasingly unruly group of extras. At the same time he is trying to continue his relationship with Hanna, with whom he has shot some test footage that the two review together while discussing the intersection of love and work. Jerzy is also taken with Isabelle, who also wants to merge love and work. She tries to get Jerzy involved with her cause and to make meaningful connections with the film crew, asking them why films never show people working. Finally, Isabelle and Jerzy have an intimate encounter and Isabelle gives up her virginity. She accepts a payoff from Michel, her fellow workers having abandoned their half-hearted attempt at a strike. László secures more money for the film but Jerzy feels the tug of the dramatic events of the Solidarity movement in Poland and of his family back there. Feeling unable to complete the project, he leaves for Poland