A scathing satire of modernist life from Jean-Luc Godard, Weekend is one of his most anarchic and anti-social works.
Godard goes way beyond Luis Bunuel in his satirical attack on bourgeois mores and manners, approximating in its expression a cinema of cruelty and violence.
Grade: A (***** out of *****)
Weekend
Theatrical release poster
I saw Weekendas a high-school pupil, and it made such a strong impression on me that it reinforced my already-present inclination to become a film scholar and film critic.
Nominally, in terms of genre, Weekend is a road movie, a trip to damnation that’s both physical and abstract, existentially serious as well as morbidly funny.
Premise:
Determined to collect an inheritance from a dying relative, a bourgeois couple, Corinne (Mireille Darc) and Roland (Jean Yanne), travel in their red convertible across the French countryside.
Meanwhile, the surrounding civilization (any norms, rules, and manners) literally, and of course figuratively, crashes and burns around them, manifest in numerous stalled trucks, car accidents, fires, and human fatalities along the way.
Due to the brilliant cinematographer and frequent Godard (and New Wave) collaborator Raoul Coutard, the movie contains one remarkable sequence. Running a full reel and about ten-minute long, in which the camera tracks along an endless traffic jam, it has become legendary in film history. It depicts a bumper-to-bumper carnivalesque festival of cars honking, careening, crashing, overturning, and burning.
As with every Godard work, the film is an allegory rich with historical and political allusions, and replete with references to literature, painting, and poetry.
The score combines new music by Antoine Duhamel along with Mozart’s Piano Sonata K.576).
Always disturbing, often hilariously, this nearly-surreal picture depicts a society in which every small argument might (and does) lead to a major fight.
Weekend depicts a barbaric, jungle-like society in which the modus vivendi is savage butchery—every man (and woman) for himself (and herself).
Over the years, Weekend has become may one of the strongest cinematic condemnations of Western capitalism in its excessive consumerism and sexual hypocrisy.
In the opening act, Corinne, wearing just panties and sitting on a desk, describes in graphic detail a sexual encounter that involves an egg and an orifice. The story is partly based on the French intellectual Georges Bataille’s novel, Story of the Eye (Histoire de l’œil).
Made in 1967, the movie is one of Godard’s most ambitious and revolutionary works, made just before his career turned into what became known as his “Dziga-Vertov” era.
Credits:
Directed by Jean-Luc Godard
Produced by Raymond Danon
Screenplay by Jean-Luc Godard, based on “La autopista del Surn” (“The Southern Thruway”) by Julio Cortázar
Music by Antoine Duhamel
Cinematography Raoul Coutard
Edited by Agnès Guillemot
Distributed by Athos Films
Release date: December 29, 1967
Running time: 105 minutes
Budget $250,000
Julio Cortázar
Antonioni’s 1966 film Blowup was inspired by Cortázar’s story “Las babas del diablo,” which in turn was based on a photo taken by Chilean photographer Sergio Larrain, shot outside the Notre Dame Cathedral in Paris. Cortázar also made a cameo appearance in Antonioni’s film, playing a homeless man whose photo is taken by David Hemmings character.
Political Movies: 100 Most Significant–No. 94 is “Weekend” (1967) by Jean-Luc Godard
A scathing satire of modernist life from Jean-Luc Godard, Weekend is one of his most anarchic and anti-social works.
Godard goes way beyond Luis Bunuel in his satirical attack on bourgeois mores and manners, approximating in its expression a cinema of cruelty and violence.
Grade: A (***** out of *****)
I saw Weekend as a high-school pupil, and it made such a strong impression on me that it reinforced my already-present inclination to become a film scholar and film critic.
Nominally, in terms of genre, Weekend is a road movie, a trip to damnation that’s both physical and abstract, existentially serious as well as morbidly funny.
Premise:
Determined to collect an inheritance from a dying relative, a bourgeois couple, Corinne (Mireille Darc) and Roland (Jean Yanne), travel in their red convertible across the French countryside.
Meanwhile, the surrounding civilization (any norms, rules, and manners) literally, and of course figuratively, crashes and burns around them, manifest in numerous stalled trucks, car accidents, fires, and human fatalities along the way.
Due to the brilliant cinematographer and frequent Godard (and New Wave) collaborator Raoul Coutard, the movie contains one remarkable sequence. Running a full reel and about ten-minute long, in which the camera tracks along an endless traffic jam, it has become legendary in film history. It depicts a bumper-to-bumper carnivalesque festival of cars honking, careening, crashing, overturning, and burning.
As with every Godard work, the film is an allegory rich with historical and political allusions, and replete with references to literature, painting, and poetry.
The score combines new music by Antoine Duhamel along with Mozart’s Piano Sonata K.576).
Always disturbing, often hilariously, this nearly-surreal picture depicts a society in which every small argument might (and does) lead to a major fight.
Weekend depicts a barbaric, jungle-like society in which the modus vivendi is savage butchery—every man (and woman) for himself (and herself).
Over the years, Weekend has become may one of the strongest cinematic condemnations of Western capitalism in its excessive consumerism and sexual hypocrisy.
In the opening act, Corinne, wearing just panties and sitting on a desk, describes in graphic detail a sexual encounter that involves an egg and an orifice. The story is partly based on the French intellectual Georges Bataille’s novel, Story of the Eye (Histoire de l’œil).
Made in 1967, the movie is one of Godard’s most ambitious and revolutionary works, made just before his career turned into what became known as his “Dziga-Vertov” era.
Credits:
Directed by Jean-Luc Godard
Produced by Raymond Danon
Screenplay by Jean-Luc Godard, based on “La autopista del Surn” (“The Southern Thruway”) by Julio Cortázar
Music by Antoine Duhamel
Cinematography Raoul Coutard
Edited by Agnès Guillemot
Distributed by Athos Films
Release date: December 29, 1967
Running time: 105 minutes
Budget $250,000
Julio Cortázar
Antonioni’s 1966 film Blowup was inspired by Cortázar’s story “Las babas del diablo,” which in turn was based on a photo taken by Chilean photographer Sergio Larrain, shot outside the Notre Dame Cathedral in Paris. Cortázar also made a cameo appearance in Antonioni’s film, playing a homeless man whose photo is taken by David Hemmings character.