A supposedly idyllic weekend 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 »
In this film, 'Her' refers to both Paris, the character of Juliette Janson and the actress playing her, Marina Vlady. The film is a kind of dramatised documentary, illustrating and ... See full summary »
Set in the near future, Paula, a leftist writer, goes from Paris to the French town of Atlantic-Cité when she learns of the death of a former colleague and lover, Richard P. Is she there to... See full summary »
Paul is young, just demobbed from national service in the French Army, and dishillusioned with civilian life. As his girlfriend builds herself a career as a pop singer, Paul becomes more ... See full summary »
During the Algerian war for independence from France, a young Frenchman living in Geneva who belongs to a right-wing terrorist group and a young woman who belongs to a left-wing terrorist ... See full summary »
A supposedly idyllic weekend 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 <email@example.com>
Facel was a French manufacturer of automobiles from 1954 to 1964. The car in this film is the Facellia, a sports car version produced from 1960 to 1963. The Dauphine was a rear- manufactured by Renault as the successor to the Renault 4CV from 1956 to 1967. See more »
Didn't you heard what he said? Marx says we're all brothers!
Marx didn't said that. Some other communist said that. Jesus said that.
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Watching "Weekend" gave me the same joyous sensation as watching Bunuel's "The Phantom of Liberty." It's so blessedly free from conventionality that it's a rollercoaster of voyeuristic pleasure. Every scene is a text unto itself and maybe it relates to the whole, maybe it doesn't. Godard is making up his own rules as he goes along. This might be the first truly existential film I've seen. It's the kind of movie Nietzsche would've made if he'd been alive to see the advent of film art.
It's a shame, though, that the closest thing we have to Godard nowadays is guys like Quentin Tarantino and Wes Anderson. Not to knock Q or Wes - I have a lot of love for their movies - but you just don't feel the same freedom watching one of their movies as you do watching Godard's, because with theirs you still realize you're following a constricting narrative path, contrived to hoodwink us into thinking the world makes sense.
There is certainly a place for that kind of filmmaking. But there's a place for Godard's kind, too, and it's a shame that niche isn't being satisfied.
11+ (cuz JLG's a rule breaker)
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