We concluded the first part of our tribute to Jean-Luc Godard in April with his films from 1967, La Chinoise and Weekend, bold ideological critiques that explored revolutionary politics and declared the “end of cinema.” For this second half of our tribute, which continues through April 2015, we pick up with films made in the aftermath of May ‘68. Godard's investigations into cinema had already rejected the illusion of narrative; now he turned to the problem of how to “make films politically.” He joined up with the young French critic and journalist Jean-Pierre Gorin and made a series of films under the banner of the Dziga Vertov Group. Inspired by their Soviet namesake, they invented a “new” cinema, combining radical aesthetics with radical politics to investigate the “new” reality-whether focusing on the struggles of the Palestinians and the Black Panthers, or on the production and consumption of culture. We are honored that Jean-Pierre Gorin will discuss the Dziga Vertov Group on September 24 and will return the next evening to present Ici et ailleurs. Godard continued to experiment with sound and image in collaboration with Anne-Marie Miéville, incorporating the relatively new medium of video in Numéro deux and Comment ça va in the mid-1970s. We conclude with Godard's “second first film,” Every Man for Himself; his return to narrative, Godard-style, is featured in the next installment of our series.