7.4/10
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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:
...
...
Jean-Pierre Kalfon ...
Le chef du Front de Libération de la Seine et Oise
Rest of cast listed alphabetically:
...
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)  »

Also Known As:

Weekend  »

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Box Office

Budget:

$250,000 (estimated)
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Color:

(Eastmancolor)

Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

Included among the "1001 Movies You Must See Before You Die", edited by Steven Schneider. 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 The Quest for _____ (1998) See more »

Soundtracks

Allo, tu m'entends
By Dalida
Sung by Jean-Pierre Léaud
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User Reviews

 
A surrealist fantasy - or nightmare
2 December 2007 | by See all my reviews

Yeah, it's super bizarre and it's probably Godard's strangest work (which is saying a lot) that I've seen, but I still couldn't look past the glaring flaws and just love the wonderfully surrealist images. The first hour or so of the film is pretty much perfect, combining a brutally random sense of violence with some delightfully weird fantasy images and a dark, dark sense of humour. The infamous ten minute long tracking shot of the traffic jam manages to remain entertaining throughout by linking a series of hilariously comic moments. I also especially liked the bit with the guy with the Porsche singing into a pay phone and the inexplicable appearance of Emily Brontë, who is dismissed as a fictional character and lit on fire. However, once Godard's political beliefs begin making their presence felt in an all too explicit and blatant manner, the film grinds to a halt. I was simply bored during the long monologues on America's foreign policy, which seemed a rather childish attempt by Godard to get his message across. The film never really recovers from this, as even the appearance of a group of cannibalistic revolutionaries can't bring back the same sense of black comedy that populated the first 2/3 of the film. Still, it's utterly brilliant for a majority of the time, and its bizarre images mask a mostly subtle and intelligent tirade against society and commercialism. Not for the faint-hearted, though.


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