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In six parts that move dynamically through Godards extraordinary and sometimes confounding evolution from BREATHLESS (1960) to his Maoist militant period and collaboration with Jean-Pierre Gorin, to his mainstream return with EVERY MAN FOR HIMSELF and PASSION, and his magnum opus, HISTOIRE(S) DU CINEMA this rich portrait draws from candid new interviews with family, frenemies, and muses (Nathalie Baye, Julie Delpy, Hanna Schygulla)

The devil here would be in the regulatory detail, but there are certainly several benefits that could flow from it for the industry as a whole