Weekend (Week End) (1967)
Average Rating: 8.6/10
Reviews Counted: 21
Fresh: 20 | Rotten: 1
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Critic Reviews: 3
Fresh: 3 | Rotten: 0
Average Rating: 3.9/5
User Ratings: 7,864
French filmmaker Jean-Luc Godard's Le Weekend remains his most consistently relentless attack on the bourgeois values of his own country and the perceived imperialism of the United States. Mireille Darc plays the central character, an "average" woman who is systematically radicalized during a weekend motor trip. No sooner have the woman and her husband (Jean Yanne) embarked on their journey than they become enmeshed in the mother of all traffic jams. The motorists rave, rant, burn, rape, murder,
Jan 1, 1967 Wide
Aug 23, 2005
Janus Films - Official Site
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This apocalyptic farce-Alice in Wonderland as reconceived by the Marquis de Sade-would mark both the high point and the end of Godard's meteoric career as a popular artist.
The film must be seen, for its power, ambition, humor, and scenes of really astonishing beauty.
In the absurdist dark comedy, Western society never looked so sickening on film.
an apocalyptic primal scream against the conformities and hypocrisies of the Americanized French bourgeoisie and one of the most lacerating and funny satires of car culture ever produced
Uncompromisingly cynical and completely unforgiving, Week End is a satire so black, you couldn't see hope if it was dancing in front of your eyes carrying sparklers and singing La Marseillaise.
There is nothing predictable about Weekend; Godard uses the camera as a radical satirical tool, inserting it up the backside of a society he perceives as lost, constrained and confused. And so are we.
A film that reads itself, tells the viewer what that reading should be, and at the same time tells the viewer that this reading is inaccurate and should be ignored.
Visionary, insane, and barbarously funny; don't miss the chance to accept the challenge Weekend is still dying to make.
A seminal film everyone should see.
Godard pushes his Brechtian didactics to the limit, his exhilarating modernism giving him free rein to draw on Freud, Marx, Lewis Carroll and James Bond.
Week End constantly propagates images that convey class and taste. And in few films does privilege seem so crass and repellant.
A brutally satirical film somewhat reminiscent of the works of Luis Bunuel, this was Jean-Luc Godard's most ambitious and vociferous 'revolutionary' movie before he retired to the shelter of the Dziga-Vertov group.
Audience Reviews for Weekend (Week End)
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