Reunited after 16 years with cameraman Raoul Coutard, Godard's first film of the Eighties works as an examination of some of his own obsessions, principally filmmaking, religion and sexuality. In a film studio a Polish director is making a film called 'Passion', recreating in tableaux vivants a series of celebrated paintings by Goya, Ingres, Delacroix and Rembrandt. While doing so the director is having an affair with the owner of the French motel where he and the crew are staying. Her husband has to cope with a labour dispute at his factory led by a female worker. Meanwhile money for the film is running out and the backers are complaining that there is no story. Godard refuses to bring one narrative centre-stage but instead asks us to consider that there are always too many stories to be contained, always more life elsewhere.