Jump cuts
While driving through Paris, Michel tells Patricia how pretty she is, going through a list of her body parts he finds attractive. The camera is situated in the back seat looking up at the back of Patricia's head. After each body part that Michel names, Godard cuts the scene, but keeps the camera on Patricia, so it is not actually a jump in space or time, but a more unusual rupture in the continuity of the dialogue. The fast cuts give a psychological impression; while we cannot see Patricia's facial reaction to the flattery, the cuts communicate a sense of insincerity on Michel's part, and a distance between them.
Parisian landmarks
Throughout the film we see various landmarks in Paris as if from a moving car. At one point we see the Eiffel Tower, and also Notre-Dame. These images recall Michel's admiration for France, his patriotism and love of country, and also situate the viewer firmly in Paris. The images come and go quickly, and are not imbued with any special significance, but they situate the viewer and align our perspective with Michel's. In these moments, we see the city as he does.
Making faces
At one point, Michel makes fun of Patricia's emotionality by making a series of faces: first a wide open mouth, then a toothy smile, then an exaggerated frown. She mimics him and they share in a private joke. At the end, after she has betrayed him and the police have shot him in the back, Michel stares up at Patricia and makes these faces yet again. They now have a much sadder meaning, and represent the fact that Patricia's changeable emotions have led her to betray the man she loves.
Patricia's face
After Michel dies, Patricia is confused by something he said, the fact that he called her a louse. She turns towards the camera, staring blankly into it. In this moment, she is hard to read, an impenetrable emotional subject, and she has the vague expression of someone whose actions have not quite caught up to her emotions. She seems puzzled, out of sorts, yet calm, and the image is the final one in the film.
