Why yes, you're correct. Pierrot le Fou was not made in Hollywood-it's not even American! But “Hollywood,” like “Las Vegas” and “New York,” is a label or style known all over the world. Hollywood is the most persuasive element in American imperialism. And Pierrot le Fou, you could argue, is a film made by a foreigner who had an extraordinary knowledge of and love for the Hollywood product. After all, think of all the Hollywood “things” he uses: sex and violence; a moody hero and an unreliable heroine; a dash for freedom that walks into a trap. Shot in high summer, Pierrot is a film noir. And I haven't mentioned the appearance of Samuel Fuller yet. Pierrot is about death (the death between Godard and Anna Karina is still the engine of the film). But the perceived death of American film is what accounts for the revived passion for montage, interruptive commentary, and anti-Americanism. Trouble for the empire!