Weekend

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Steve T I saw this in college not long after it was made. I had recently seen "Alphaville" and hoped that I would enjoy this one as much. It was two hours of agony. I remember looking at my watch, thinking that at least two hours must have gone by so it would be over soon, only to find it had only been on for an hour. I remember the principal characters driving through the countryside with horrible accidents with horrendous injuries all along the road. And then the final part of the film with the "cannibal-rapists-revolutionaries" was just plain stupid, ending (spoiler alert) with the woman saying she would have more later when told that the stew she'd been eating included her husband. Maybe it is great "art" at some level, but if you just want to run out of the theater, you won't appreciate that. At least half of his subsequent film "Sympathy for the Devil" let you see the Stones making that song, but the other half of it was awful enough that it got the kind of ratings that "Weekend" should have received. Rated 1/5 Stars •  Rated 1 out of 5 stars 12/07/24 Full Review William L Godard tries to be Jacques Tati, except angrier, stranger, and less subtle. Bringing a higher budget doesn't mean that you automatically make a film particularly insightful. It's a grab bag of randomness pretending to be targeted surrealism, paired with attempts at philosophy, geopolitics, and criticisms of consumerism; in other words, its Godard preening himself in front of a mirror. A woman standing next to a firey pileup, loudly wailing over the fate of her Hermes handbag instead of the human toll of the accident; how creative and sharp. With an endless stream of car crashes and fake blood, Weekend feels like its strangeness is simply for the sake of strangeness or an imitation of other films rather than anything more substantial. Along with Alphaville, Weekend is really forcing me to question whether or not Godard is more than a recognizable name that lucked into some early successes before falling in love with the idea of himself that contemporary critics developed. (1.5/5) Rated 1.5/5 Stars •  Rated 1.5 out of 5 stars 07/22/21 Full Review Audience Member Honestly I am torn between 2.5 to 3 stars so I'll go with 2.5 for now... I genuinely enjoyed most of this movie I like those kind of things but it was definitely 30 minutes too long and at some point I was just dying for it to end. This was not helped by the fact that I think the ending kinda takes away from most of the movie and I would've liked it way more without those hippies cannibals revolutionaries Rated 2.5/5 Stars •  Rated 2.5 out of 5 stars 01/20/23 Full Review Audience Member A monument of cinema. Rated 5/5 Stars •  Rated 5 out of 5 stars 01/16/23 Full Review Audience Member This movie is terrible! Nothing happens yet it's grotesque. My eyes hurt for 1 hr and 45 minutes I spent watching this garbage piece of "cinema." I have never considered leaving a film more than I did here. I understand that it's art but not all art is good and not all artists are Monet. Rated 0.5/5 Stars •  Rated 0.5 out of 5 stars 02/07/23 Full Review Audience Member 3.5/5 I admire any film that shows me something new, compellingly enough to keep my attention. It doesn't matter if it's meaningless or substantial. Weekend has that in spades, and much of it I was expecting. I've rarely read as much about a film before I've seen it. The best you can do is guess what Godard was attacking or satirizing, scene to scene. Capitalism, bourgeoisie, Vietnam & Algeria, other films. This is more unfunny sketch comedy than coherent film. His anger translates into successively repulsive images. I even wondered if the whole thing was a joke on audiences he held in as much contempt as anything else. What I was not expecting was the tediousness. There are a few passages where someone off-screen engages in a long monologue about revolutionary nonsense, while the people on-screen just listen. I don't know if Godard wants us to pay attention to the words, or if he's satirizing something else that I can't understand. The frequent scene cards seemed pointless (or perhaps were a poor translation from the French - this was an old Janus print), and the famous "End of Film... End of Cinema" mic drop at the end so terribly wrong, when one of the greatest eras of American creative cinema was just starting. A former Cahiers du Cinema writer should have noticed. Unless I've misinterpreted that ending, which seems likely. I'm too politically shallow to follow it all. Rated 3.5/5 Stars •  Rated 3.5 out of 5 stars 02/24/23 Full Review Read all reviews

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