7.4/10
9,519
100 user 69 critic

Weekend (1967)

Week End (original title)
Not Rated | | Adventure, Comedy, Drama | 27 September 1968 (USA)
A supposedly idyllic week-end trip to the countryside turns into a never-ending nightmare of traffic jams, revolution, cannibalism and murder as French bourgeois society starts to collapse ... See full summary »

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1 win & 3 nominations. See more awards »
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Cast

Credited cast:
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Jean-Pierre Kalfon ...
Le chef du Front de Libération de la Seine et Oise
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Himself (archive footage)
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Storyline

A supposedly idyllic week-end trip to the countryside turns into a never-ending nightmare of traffic jams, revolution, cannibalism and murder as French bourgeois society starts to collapse under the weight of its own consumer preoccupations. Written by Michael Brooke <michael@everyman.demon.co.uk>

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Not Rated | See all certifications »

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Release Date:

27 September 1968 (USA)  »

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Weekend  »

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Budget:

$250,000 (estimated)
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(Eastmancolor)

Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

There are allusions to Georges Bataille's "Histoire de l'oeil" throughout the film (e.g. Corrine describing her sexual encounter involving the milk and eggs). There are a few thematic references to the book, mainly in relation to consumerism, desire and savagery. See more »

Quotes

Corinne: Didn't you heard what he said? Marx says we're all brothers!
Roland: Marx didn't said that. Some other communist said that. Jesus said that.
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Connections

Referenced in Futility (2014) See more »

Soundtracks

Piano Sonata No. 18 in D, K. 576: I. Allegro
by Wolfgang Amadeus Mozart
Played by the pianist at the farm
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User Reviews

 
Still the meanest film on the block.
4 March 2002 | by (Bronx, New York) – See all my reviews

I gave this movie a 10 out of 10. I expect many people would feel hard-pressed to give it a 2 on the same scale, and I honestly wouldn't blame those who do. "Week End" is a machine built to provoke, and perhaps irritation as well as admiration can be a measure of such a machine's success.

For myself, I love it. It boils with anger, frustration, and insane energy. In one sense, it approaches film like the Cubists approached painting, breaking down images, ideas, characters and plot into startlingly photographed, almost geometric segments. But where the Cubists were to content to experiment with form Godard's instincts stay furiously political; it's as though an early Picasso had been commandeered and refitted by George Grosz.

Arrogance is not always a drawback, as rock and roll fans know-- and "Week End" is a terribly arrogant film. The director trashes every convention that he can think of. It's all thrown together-- music, dialogue, on-screen text, unvarnished political theory, frightening violence-- onto a bare hook of a plot: a young, apparently soulless couple go on a week-end trip in the middle of what appears to be the end of Western civilization. Without apologies Godard throws this mess on the table and asks the rest of us, "What have you got to match it?"

Sadly, not much. Cinema as an art has regressed rather than advanced since this film was released. (Godard himself stalled after "Week End.") Despite the rise of independently funded, non-Hollywood films in the past decade, no one seems ready to dare the sort of experimentation with what film could be that was begun in the 60s, and this is a sad thing. The films made by Godard at the height of his powers are all the more precious now. "Week End" is a document of a time when film mattered. It is an artifact, but it would only be dated if it had been surpassed. It does not rest in peace.


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