as Le Chef
as Gros Poncet
as Emily Bronte
as Girl in Car Crash/Mcmber of FLSO
as Member of FLSO
as Joseph Balsamo
as Tom Thumb
as Gros Poncet
as Girl in Car Crash/Member of FLSO
as Girl in Farmyard/Member of FLSO
as Tractor Driver
as The Arab Speaking for His Black Brother
as Man from Farmyard
as Monsieur Jojot (uncredited)
Critic Reviews for Weekend
Year after year, Jean-Luc Godard has been chipping away at the language of cinema. Now, in Weekend, he has just about got down to the bare bones. This is his best film, and his most inventive. It is almost pure movie.
As long as cinema like this exists, there's no end in sight.
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.
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.
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.
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.
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