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 »
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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 »
[in the midst of a bourgeois' car collision]
From French Revolutions to Gaullist weekends, freedom is violence.
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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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