Contempt (Le Mépris) is a 1963 French film directed and written by Jean-Luc Godard (IEI), the most "conventional" and most expensive of his films, with the script following closely the general plot of the novel Il disprezzo by Alberto Moravia. Godard was reportedly unhappy with the whole experience of making a conventional movie with his freedom limited by the producers; he also thought little of the novel. Be that as it may (or maybe because of it), I have found that the insights of the film and the points it seems to make, although not immediately explicit and often confusing for audiences, are made clear by socionics analysis.
A fully consistent explanation is given by looking at the socionics types of the characters. Camille is a very clear and consistent IEI (which is Godard's own type and perhaps also Bardot's); Jeremy Prokosch is an equally clear and consistent SLE, although one whose need to brag about himself points to a clumsy use of E6 not unlike Donald Trump's (also a SLE). Paul is less consistently portrayed but he can be typed as a LSE. That is, Camille and Paul's relationship was one of LSE-IEI Conflict, and the inherent issues with that relationship were brought to the surface in the presence of Camille's Dual, the SLE Prokosch.
Camille and Paul, although married, did not really understand each other's motivations. Paul was utterly captivated by Camille's beauty and her apparently solid love for him, which he assumed was a "fixed" thing: that is a manifestation of R5, a difficulty with understanding the status of others' relationships to oneself and how stable they are. From her side, Camille admired in Paul what she saw as his artistic integrity and independence, as well as his efforts to provide for her and thus protect her - appreciation of apparent L in others as well as a sign of her F5, the appreciation of others using assertiveness and power on her behalf.
From a F perspective though - the one that would be natural for the SLE-IEI Dual pair of Camille and Prokosch - what was going on was a high F man making clear his dominance of those around him, extending that to another man's wife. Paul's reaction was perceived not as obliviousness or not taking it seriously, but as submission to Prokosch's F, even to the point of letting his wife exposed to it as well. Paul's "corruption of his artistic integrity" - giving priority to P concerns over L principles - was not enough to make Camille despise him; but his apparent refusal to exercise F on her behalf was too much for her F5. He failed to show precisely what she most expected from him. Hence, her attitude to him became one of contempt. If Paul had used his F to "mark his territory" and said he would take a taxi with Camille, the first time, Prokosch might have taken the hint and Paul might have saved his marriage - at least for a time. As it was, the obvious manifestation of his R5 - his insistent asking of Camille for an explanation as to why she now despised him - would be as puzzling and irritating to her own R8 as her own desire for F had been to him.
There is a good-quality full version of Contempt on YouTube here - unfortunately not with English subtitles. The trailer of the 2016 restoration and re-release, with subtitles in English, is here.