There are words from the philosophy of Simone Weil which particularly illustrate the strong tension which could appear in her between materialism and idealism. Among these, the notion of miracle oscillates between the completely negligible, since completely fantasized, and one of the central points of Weilian thought, since testifying to the encounter between natural and supernatural. In this article we would like to argue that the notion of miracle represents in Weil a point of reversal. First reversal of attention span which is perpetuated in the restitution of its initial effort; then a reversal of the aesthetic practice which for Weil feeds on the notion of attention. Starting from there, we would like to argue that this second reversal feeds in return a renewal of artistic practices particularly visible in Jean-Luc Godard, who in the homage illuminates as much as he prolongs Weil's idea of a miracle.