A small-time thief steals a car and impulsively murders a motorcycle policeman. Wanted by the authorities, he reunites with a hip American journalism student and attempts to persuade her to run away with him to Italy.
A supposedly-idyllic weekend trip to the countryside turns into an endless 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>
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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