The purpose of this paper is to show that voice-over narration can and has been used in more ways than as a substitute to visual narrative in Jean-Luc Godard’s films. I’ve based my research from this question: how does voice-over contribute to the narrative in Jean-Luc Godard’s movies. I have analyzed sequences from three of his films, Bande à part (1964), Alphaville (1965), and Pierrot le fou (1965) with Sarah Kozloff's narrative theories presented in her book Invisible Storytellers. My conclusions are that Godard uses voice-over in many different ways from film to film but also in the same film. This makes it difficult and impossible to place Godard with ease into any theory for voice-over narration, which I consider a good thing. And not only does voice-over in his film narrate, but also contribute to the tone of the story whether it is to speak ironically of the story it tells, complicate the story for us or in any other possible way strengthen the story. Since he’s not using voice-over narration as a substitute to visual narrative but making it a fundamental tool of his style, thus making him a true audiovisual narrator.