Weekend (1967)
Country: FR/IT
Technical: col 103m
Director: Jean-Luc Godard
Cast: Mireille Darc, Jean Yanne, Jean-Pierre Kalfon, Jean-Pierre Léaud
Synopsis:
A Parisian couple travel into the countryside in the expectation of receiving inheritance from a dying parent but become embroiled in traffic jams, car accidents and encounters with anti-capitalist revolutionaries.
Review:
Godard's proto-1968 essay on commercialism and its evils (greed, selfishness, shallowness of ambition) shuns conventional narrative techniques more than ever while taking sideswipes at pornography and violence. Unpalatable for the seeker of easy pleasures, its carefully choreographed (and interminable) tracks, pans and other variations on the single take nevertheless reveal a master craftsman at work; and some of the jokes aren't bad, in an intellectual sort of way. A key film of the period, signalling the end of the Nouvelle Vague more than any other.
Country: FR/IT
Technical: col 103m
Director: Jean-Luc Godard
Cast: Mireille Darc, Jean Yanne, Jean-Pierre Kalfon, Jean-Pierre Léaud
Synopsis:
A Parisian couple travel into the countryside in the expectation of receiving inheritance from a dying parent but become embroiled in traffic jams, car accidents and encounters with anti-capitalist revolutionaries.
Review:
Godard's proto-1968 essay on commercialism and its evils (greed, selfishness, shallowness of ambition) shuns conventional narrative techniques more than ever while taking sideswipes at pornography and violence. Unpalatable for the seeker of easy pleasures, its carefully choreographed (and interminable) tracks, pans and other variations on the single take nevertheless reveal a master craftsman at work; and some of the jokes aren't bad, in an intellectual sort of way. A key film of the period, signalling the end of the Nouvelle Vague more than any other.
Country: FR/IT
Technical: col 103m
Director: Jean-Luc Godard
Cast: Mireille Darc, Jean Yanne, Jean-Pierre Kalfon, Jean-Pierre Léaud
Synopsis:
A Parisian couple travel into the countryside in the expectation of receiving inheritance from a dying parent but become embroiled in traffic jams, car accidents and encounters with anti-capitalist revolutionaries.
Review:
Godard's proto-1968 essay on commercialism and its evils (greed, selfishness, shallowness of ambition) shuns conventional narrative techniques more than ever while taking sideswipes at pornography and violence. Unpalatable for the seeker of easy pleasures, its carefully choreographed (and interminable) tracks, pans and other variations on the single take nevertheless reveal a master craftsman at work; and some of the jokes aren't bad, in an intellectual sort of way. A key film of the period, signalling the end of the Nouvelle Vague more than any other.