While not plagued with child nudity, Sauve qui peut (la vie) (1980) aka Every Man for Himself is another example of where Godard exploited a child for sexual reasons. Indeed, apparently Godard developed a strange infatuation with Swiss auteur Alain Tanner’s daughter Cécile Tanner and, not unlike the stereotypical scheming pedo, attempted to appeal to her by promising to direct a film about her involving her favorite sport of soccer. While Tanner would eventually get to play a soccer girl in Every Man for Himself—Godard’s self-described “second first film” and, unlike Number Two, his true comeback flick—when she was 12-years-old, she had no idea it would be in an incestuous pedophiliac context. Indeed, as Richard Brody noted in regard to Tanner’s response upon first seeing the film and realizing that Godard had exploited her in a cinematically sexual fashion without her knowledge, “When I saw it, at the private screening for the crew, I crawled under my seat, I was dying of shame.” Of course, considering that Godard is a long celebrated figure among film academics and a good number of respected mainstream film critics and virtually all of these individuals are staunch leftists, if not downright communists, he obviously gets a pass for his dubious sexual proclivities just like Allen and Polanski. In fact, Godard's Judaic biographer Brody spends more time in Everything Is Cinema: The Working Life Of Jean-Luc Godard complaining about the filmmaker's supposed antisemitism than his more overt and well documented little girl fetish, but I digress.
Forget inbred Appalachian meth heads, Detroit wiggers, and oxy-addled second generations polacks from Baltimore, Number Two features what can be described as the ultimate white trash family in what is the post-Sartrean intellectual equivalent to literal poverty porn.