We’re All Still Here presents a trio of scenarios, each embedded in a particular period and examined through a specific logical regime. The first section offers a Platonic dialogue on life, justice, and equality, offered by a suburban housewife and interior decorator (Lafont) to her earnest pupil (Clément); the second is a monologue based on Hannah Arendt’s “The Nature of Totalitarianism,” delivered by Godard on a stark theatrical stage; the third pits the members of a long-standing couple (Godard and Clément) in a series of wry exchanges on the pitfalls of romance and artistic output. Punctuated with a delightful array of musical interventions, from Shostakovich to Lester Bowie, We’re All Still Here is at once an amusing and challenging inquiry into the nature of contemporary life.