Can the legendary Jean-Luc Godard, who personifies cinema more than anyone else today, whose obsession with the form has been one of the preoccupations of his later work, equally baffling and enlightening, really have decided it’s time for the lights to come up on his career? If so, Socialism is exactly the film one would expect to mark the occasion. Expanding his experiments in sound, image, narrative and editing to include the subtitles, the film may be best approached as a rumination on communication and European history. However, Godard has no desire to make his intent clear; the film challenges the viewer to extract one’s own meaning from its every level, as comprehensively stated in what may be the final image from a unique filmmaker.