Can the amateur sociologist Paul represent the beginnings of a new youth ideology? Of course not: Godard has always been a doomsayer and a misanthrope, which is why he was so often right about everything. Certainly Paul starts to discern the present limitations of his own developing intellect; disappointed with the answers to his survey, he decides he has been asking the wrong questions, "seeking value judgments rather than observing behavior." The discovery, however, comes to nothing. In the despondent final scenes of Masculine Feminine, Madeleine's bewildered face fills the screen and, as shallows turn to sorrows, the movie's helpless last words are hers: "I don't know."