Weekends are two days long. And so, here is part two of my special WEEKEND double feature!
I’m not even going to try saying anything too insightful about Jean-Luc Godard’s 1967 film WEEKEND, the film that declares itself to be “the end of cinema.” It’s a sprawling, violent, scathing, traffic-jam of a film, following a loathsome bourgeois couple as they cross the French countryside to claim a dying father’s inheritance. The world, as Godard envisions it, is an endless road to nowhere, littered with flaming car wrecks, corpses, and cultural debris. Mixed into this are long Marxist tirades and revolutionary manifestos, which may possibly be the most heartfelt segments of the film, but I wouldn’t know because they’re so tedious they’re nearly unwatchable. Other scenes are much more entertaining, and many of them are darkly hilarious, and it probably says something that the most enjoyable bits are also the most violent and satirical. But as I said, on this one, I’m leaving the analysis to others.