Weekend (1967)




Critic Consensus: No consensus yet.

Movie Info

Jean-Luc Godard's scathing late-sixties satire is one of cinema's great anarchic works. Determined to collect an inheritance from a dying relative, a petit-bourgeois couple travel across the French countryside while civilization crashes and burns around them. Featuring a justly famous centerpiece single take of an endless traffic jam, Weekend is a surreally funny and deeply disturbing expression of social oblivion that ended the first phase of Godard's career - and, according to the credits, cinema itself.
Art House & International , Drama , Special Interest
Directed By:
Written By:
In Theaters:


Mireille Darc
as Corinne
Jean Yanne
as Roland
Paul Gégauff
as pianist
Jean-Pierre Léaud
as Saint-Just
Paul Gaugauff
as Pianist
Yzes Alfonso
as Gros Poncet
Blandine Jeanson
as Emily Bronte
Virginie Vignon
as Marie-Madeleine
Juliet Berto
as Girl in Car Crash/Mcmber of FLSO
Yves Beneyton
as Member of FLSO
Yves Afonso
as Tom Thumb
Daniel Pommereulle
as Joseph Balsamo
Yves Alfonso
as Gros Poncet
Juliette Berto
as Girl in Car Crash/Member of FLSO
Anne Wiazemsky
as Girl in Farmyard/Member of FLSO
Jean Eustache
as Hitchhiker
Georges Staquet
as Tractor Driver
Laszlo Szabo
as The Arab Speaking for His Black Brother
Michel Cournot
as Man from Farmyard
Mons. Jojot
as Monsieur Jojot (uncredited)
Isabelle Pons
as (uncredited)
Show More Cast

Critic Reviews for Weekend

All Critics (21) | Top Critics (3)

As long as cinema like this exists, there's no end in sight.

Full Review… | October 4, 2011
Time Out
Top Critic

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.

Full Review… | October 4, 2011
Village Voice
Top Critic

The film must be seen, for its power, ambition, humor, and scenes of really astonishing beauty.

Full Review… | July 11, 2004
New York Times
Top Critic

In the absurdist dark comedy, Western society never looked so sickening on film.

Full Review… | March 29, 2013
Ozus' World Movie Reviews

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

Full Review… | November 27, 2012
Q Network Film Desk

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.

Full Review… | August 9, 2011

Audience Reviews for Weekend

A bourgeois husband and wife plan a delightful weekend during which they plan to kill their relatives for inheritance. Eric Braysmith said, "What's interesting about this film is the many ways you hate it." I'm more blunt: fuck this movie. Fuck this movie backwards, sideways, and with that knife-dildo from Seven. Like most of Godard's work, this film defies understanding, and anyone who fully understands it is already inculcated in the film's politics and intellectual community and consequently doesn't need to watch it. Everyone else is left confused. A condemnation of bourgeois ideology, the accessible parts of the film are heavy-handed, and the inaccessible parts wreak of pretentious self-gratification. Overall, Jean-Luc Godard, whom I've long despised, can finally go fuck himself.

Jim Hunter
Jim Hunter

Super Reviewer


A cruel bourgeois couple take a weekend to travel to see the wife's dying father in hopes of grabbing his inheritance, but traffic patterns, civilization, and reality all break down during their journey. Jean-Luc Godard's satire in the style of Luis Bunuel mixes exhilarating ideas (the unexplained car wrecks everywhere give a sense of society collapsing) with pedantic ones (dated Marxist lectures on colonialism); it's all "very Sixites." You could see it either as Godard's last accessible film, or his first inaccessible one.

Greg S
Greg S

Super Reviewer


An unconventional bit of storytelling that I found to be quite enjoyable. Looking at this movie with a preconceived notion of narrative would make this an extremely unpleasant and boring experience. Letting go would be the first thing I would advise someone to do. Given the proper lens, it's a beautiful film. Its hostility towards traditions are quite interesting. It attacks not only capitalism, but marriage, life, death and compassion.

Conner Rainwater
Conner Rainwater

Super Reviewer

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