{"id":89983,"date":"2023-02-18T15:50:52","date_gmt":"2023-02-18T22:50:52","guid":{"rendered":"https:\/\/filmfanatic.org\/?p=89983"},"modified":"2023-02-18T15:50:52","modified_gmt":"2023-02-18T22:50:52","slug":"2-or-3-things-i-know-about-her-1967","status":"publish","type":"post","link":"https:\/\/filmfanatic.org\/?p=89983","title":{"rendered":"2 or 3 Things I Know About Her (1967)"},"content":{"rendered":"<p><strong>&#8220;What I say with words is never what I&#8217;m really saying.&#8221;<\/strong><\/p>\n<table>\n<tr>\n<td>\n<p><a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-I-Know-About-Her.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-I-Know-About-Her-221x300.png\" alt=\"\" width=\"221\" height=\"300\" class=\"alignleft size-medium wp-image-89984\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-I-Know-About-Her-221x300.png 221w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-I-Know-About-Her-94x128.png 94w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-I-Know-About-Her-199x270.png 199w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-I-Know-About-Her.png 691w\" sizes=\"auto, (max-width: 221px) 100vw, 221px\" \/><\/a><\/p>\n<p><strong>Synopsis:<\/strong><br \/>\nAn urban housewife (Marina Vlady) with two young kids turns to prostitution to support her family&#8217;s middle-class budget.\n<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<p>\n<strong>Genres, Themes, Actors, and Directors:<\/strong><\/p>\n<ul>\n<li>French Films<\/li>\n<li>Housewives<\/li>\n<li>Jean-Luc Godard Films<\/li>\n<li>Prostitutes and Gigolos<\/li>\n<\/ul>\n<p><strong>Review: <\/strong><br \/>\nContinuing with the theme of prostitution as a metaphor for modern capitalist existence &#8212; as shown in his earlier <a href=\"https:\/\/filmfanatic.org\/?p=77314\"><em>Vivre Sa Vie<\/em> (1962)<\/a> &#8212; Jean-Luc Godard&#8217;s 13th feature-length film remains generally critically lauded, and is included in the book <em>1,001 Movies You Must See Before You Die<\/em>. In <a href=\"https:\/\/www.criterion.com\/current\/posts\/1198-2-or-3-things-i-know-about-her-the-whole-and-its-parts\">her essay for Criterion<\/a>, Amy Taubin describes it as &#8220;the greatest film by the greatest post-1950s filmmaker,&#8221; arguing it presents &#8220;as a machine that morphs the colliding meanings of words and objects with dazzling speed, and generates an astonishing array of metaphors, paradoxes, digressions, and, above all, dialectical relationships, between idea and action, word and image, sound and picture, interior and exterior, microcosm and macrocosm.&#8221; <\/p>\n<p><a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Interview.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Interview-1024x435.png\" alt=\"\" width=\"640\" height=\"272\" class=\"alignnone size-large wp-image-89998\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Interview-1024x435.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Interview-300x128.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Interview-128x54.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Interview-768x326.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Interview-604x257.png 604w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Interview.png 1280w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/p>\n<p><a href=\"https:\/\/www.dvdtalk.com\/dvdsavant\/s2963her.html\">DVD Savant<\/a> offers a more measured analysis, referring to it as &#8220;an attractive slide-show lecture and poetry recital&#8221; which &#8220;minimizes the contribution of conventional acting&#8221; (!!) and is simultaneously &#8220;engaging, titillating and frequently frustrating.&#8221; <\/p>\n<p><a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-TWA-Pan-Am.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-TWA-Pan-Am-1024x435.png\" alt=\"\" width=\"640\" height=\"272\" class=\"alignnone size-large wp-image-89987\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-TWA-Pan-Am-1024x435.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-TWA-Pan-Am-300x128.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-TWA-Pan-Am-128x54.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-TWA-Pan-Am-768x326.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-TWA-Pan-Am-604x257.png 604w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-TWA-Pan-Am.png 1280w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/p>\n<p>I&#8217;m more in alignment with Savant&#8217;s assessment. Having just finished watching and reviewing the two films Godard made before (or alongside) this one &#8212; <a href=\"https:\/\/filmfanatic.org\/?p=89938\"><em>Masculin-Feminin<\/em> (1966)<\/a> and <a href=\"https:\/\/filmfanatic.org\/?p=89959\"><em>Made in U.S.A.<\/em> (1966)<\/a> &#8212; it&#8217;s easy to see this cinematic essay as both a culmination of his continuing obsessions, and a clear marker of his shift into more overtly political films. Its lack of likable characters is a challenge, as is the fact that Godard was feeding lines to his actors (he was apparently angry at Vlady for refusing to marry him in real life, though he had just met Anne Wiazemsky and was moving on). <\/p>\n<p><a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Vlady2.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Vlady2-1024x435.png\" alt=\"\" width=\"640\" height=\"272\" class=\"alignnone size-large wp-image-89988\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Vlady2-1024x435.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Vlady2-300x128.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Vlady2-128x54.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Vlady2-768x326.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Vlady2-604x257.png 604w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Vlady2.png 1280w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/p>\n<p>Of note stylistically-speaking is Godard&#8217;s frequent juxtaposition of red, white, and blue within the frame: <\/p>\n<p><a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Red-White-Blue.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Red-White-Blue-1024x435.png\" alt=\"\" width=\"640\" height=\"272\" class=\"alignnone size-large wp-image-89993\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Red-White-Blue-1024x435.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Red-White-Blue-300x128.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Red-White-Blue-128x54.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Red-White-Blue-768x326.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Red-White-Blue-604x257.png 604w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Red-White-Blue.png 1280w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><br \/>\n<a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Camera.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Camera-1024x435.png\" alt=\"\" width=\"640\" height=\"272\" class=\"alignnone size-large wp-image-90003\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Camera-1024x435.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Camera-300x128.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Camera-128x54.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Camera-768x326.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Camera-604x257.png 604w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Camera.png 1280w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><br \/>\n<a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Mom-Son.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Mom-Son-1024x435.png\" alt=\"\" width=\"640\" height=\"272\" class=\"alignnone size-large wp-image-90001\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Mom-Son-1024x435.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Mom-Son-300x128.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Mom-Son-128x54.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Mom-Son-768x326.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Mom-Son-604x257.png 604w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Mom-Son.png 1280w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/p>\n<p>&#8230; his typically avant-garde use of sound and music; and, of course, an ongoing emphasis on pop culture, advertising, and consumerism. <\/p>\n<p><a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Ajax.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Ajax-1024x435.png\" alt=\"\" width=\"640\" height=\"272\" class=\"alignnone size-large wp-image-89996\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Ajax-1024x435.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Ajax-300x128.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Ajax-128x54.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Ajax-768x326.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Ajax-604x257.png 604w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Ajax.png 1280w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a> <\/p>\n<p><strong>Note:<\/strong> The film&#8217;s most devastating scene shows Vlady emotionlessly dropping off her crying young daughter at a daycare (which also functions as an armed brothel): <\/p>\n<p><a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Dropping-Off.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Dropping-Off-1024x435.png\" alt=\"\" width=\"640\" height=\"272\" class=\"alignnone size-large wp-image-89994\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Dropping-Off-1024x435.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Dropping-Off-300x128.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Dropping-Off-128x54.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Dropping-Off-768x326.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Dropping-Off-604x257.png 604w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Dropping-Off.png 1280w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/p>\n<p>&#8230; then walking outside to become part of the anonymous masses. Ouch. <\/p>\n<p><a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Walking-Anonymously.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Walking-Anonymously-1024x435.png\" alt=\"\" width=\"640\" height=\"272\" class=\"alignnone size-large wp-image-89995\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Walking-Anonymously-1024x435.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Walking-Anonymously-300x128.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Walking-Anonymously-128x54.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Walking-Anonymously-768x326.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Walking-Anonymously-604x257.png 604w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Walking-Anonymously.png 1280w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/p>\n<p><strong>Notable Performances, Qualities, and Moments:<\/strong><\/p>\n<ul>\n<li>Raoul Coutard&#8217;s cinematography<br \/>\n<a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Cinematography.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Cinematography-1024x435.png\" alt=\"\" width=\"640\" height=\"272\" class=\"alignnone size-large wp-image-89991\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Cinematography-1024x435.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Cinematography-300x128.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Cinematography-128x54.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Cinematography-768x326.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Cinematography-604x257.png 604w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Cinematography.png 1280w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><br \/>\n<a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Coffee.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Coffee-1024x435.png\" alt=\"\" width=\"640\" height=\"272\" class=\"alignnone size-large wp-image-90002\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Coffee-1024x435.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Coffee-300x128.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Coffee-128x54.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Coffee-768x326.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Coffee-604x257.png 604w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/2-or-3-Things-Coffee.png 1280w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/li>\n<\/ul>\n<p><strong>Must See? <\/strong><br \/>\nNo, though it&#8217;s worth a look if you&#8217;re interested in the idea of cinema-as-collage. Listed as a Personal Recommendation in the back of Peary&#8217;s book. <\/p>\n<p> (<span style=\"color:red;font-weight:bold;\">Listed in <a href=\"http:\/\/filmfanatic.org\/wp-static\/1001Movies.htm\"><em>1001 Movies You Must See Before You Die<\/em><\/a><\/span>) <\/p>\n<p><strong>Links: <\/strong><\/p>\n<ul>\n<li><a href=\"https:\/\/www.imdb.com\/title\/tt0060304\/\">IMDb entry<\/a><\/li>\n<li><a href=\"https:\/\/www.nytimes.com\/1968\/09\/26\/archives\/film-fete-godards-paristwo-or-three-things-i-know-about-her.html\">NY Times Original Review<\/a><\/li>\n<li><a href=\"https:\/\/www.criterion.com\/current\/posts\/1198-2-or-3-things-i-know-about-her-the-whole-and-its-parts\">Criterion Essay <\/a><\/li>\n<li><a href=\"https:\/\/www.dvdtalk.com\/dvdsavant\/s2963her.html\">DVD Savant Review<\/a><\/li>\n<li><a href=\"https:\/\/www.youtube.com\/watch?v=jMFxW2jR30E\">Screen View Mirror Video Review<\/a><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n<\/table>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;What I say with words is never what I&#8217;m really saying.&#8221; Synopsis: An urban housewife (Marina Vlady) with two young kids turns to prostitution to support her family&#8217;s middle-class budget. Genres, Themes, Actors, and Directors: French Films Housewives Jean-Luc Godard Films Prostitutes and Gigolos Review: Continuing with the theme of prostitution as a metaphor for modern capitalist existence &#8212; as shown in his earlier Vivre Sa Vie (1962) &#8212; Jean-Luc Godard&#8217;s 13th feature-length film remains generally critically lauded, and is&#8230;<\/p>\n<p class=\"read-more\"><a class=\"btn btn-default\" href=\"https:\/\/filmfanatic.org\/?p=89983\"> Read More<span class=\"screen-reader-text\">  Read More<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-89983","post","type-post","status-publish","format-standard","hentry","category-reviews"],"aioseo_notices":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/89983","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=89983"}],"version-history":[{"count":12,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/89983\/revisions"}],"predecessor-version":[{"id":90009,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/89983\/revisions\/90009"}],"wp:attachment":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=89983"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=89983"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=89983"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}