Society is the same way; it is polarized between "black and white," (as the film's black and white theme indicates), "good and bad," and "kill or be killed." The film's motifs indicate that society and Michel's flaunting of society are intertwined, and that as long as there is an organized society, there will be those who simply cannot accept the rules of society, or fit inside it comfortably. The jump cuts in the film can often be uncomfortable to watch, or irritating, and this too is a way of the director to comment on society and government. Often, there are aspects of the government and state that are uncomfortable or irritating, but the people have to put up with them or make an effort to change them. In this film, Michel does not try to change them, he simply refuses to adapt to them, and it costs him his life. The jump cuts illustrate the other side of the argument, that many people will just endure the aspects of state and government that are irrigating and uncomfortable, rather than do anything about them. The jump cuts are like that - to enjoy the film you have to "suffer" through the jump cuts and their irritation, or simply stop watching. The viewer has the choice, but as in life, often the choice is the lesser of two evils, rather than a clear-cut choice for the better.

One critic notes, "Godard's jump cuts have also been seen as part of a new esthetic, a radical departure from worn-out modes of cinematic discourse, and an attempt to carry out within the film medium revolutionary developments found in other arts" (Raskin). Thus, the jump cuts represent change, just as society was changing at the time, and just as the lives of the two main characters in the film were changing. The jump cuts were revolutionary...

They may seem commonplace now, but at the time, they were revolutionary, just as the message of this film is underlying revolutionary. Michel is certainly not a model citizen, instead he is a rebel, (or revolutionary), and his life is one of non-conformity and shady dealings with others. He is ruthless and without morals, and represents the underbelly of society to most people who view this film. However, there is something about him that is charming or sympathetic, and so, the viewer identifies with him, somehow. He thumbs his nose at society, and many viewers wish they had the strength or character to do the same. He calls Patricia a "coward" at one point, and that too is a reference to those in society who will not stand up for themselves or for what they see as wrong.
In conclusion, "Breathless" is a stunning film filled with jump cuts and characters that related to modern society and its ills. Michel is a sympathetic rebel who flaunts society's rules, but pays the price at the end, and that may be the most telling message of this film. Godard seems to be saying that if you flaunt society and its rules for long enough, it will come back to haunt you in the end.

References

Breathless. Dir. Jean-Luc Godard. Perf. Jean-Paul Belmondo, Jean Seberg. Les Films Imperia, 1960.

Raskin, Richard. "Five Explanations for the Jump Cuts in Godard's 'Breathless.'" POV.IMV.au.dk. Dec. 1998. 29 Oct. 2007. http://pov.imv.au.dk/Issue_06/section_1/artc10.html