Weekend

Jean-Luc Godard
Mireille Darc, Jean Yanne, Jean-Pierre Léaud, Yves Afonso, Juliette Berto, Michel Gounod, Jean Eustache, Paul Blouet, Valérie Lagrange, Jean-Pierre Léaud, Daniel Pommereulle, László Szabó, Anna Karina, Yves Beneyton, Jean-Claude Guilbert, Blandine Jeanson
1967
France, Italy
Completed
French
105 minutes
Detailed introduction
This film (drama)Also known asWeek End,is aFrance, ItalyProducerwomen sex,At1967Released in year
。The dialogue language isFrench,Current Douban rating8.0(For reference only)。
In 1968, film director Jean-Luc Godard had already achieved too much success. This year, veteran of the film industry and director of the French National Film Archive, Henri Langlois, argued that the entire history of cinema should be divided into the concepts of "before Godard" and "after Godard." In his view, the 38-year-old Godard marked the end of one era and the beginning of another. The famous writer Louis Aragon had said as early as 1965: "Today's art is Godard." The renowned existentialist philosopher Sartre also proclaimed: "In Godard's films, there is too much knowledge." Actually, apart from his debut film "Breathless" winning the Best Director Award at the 1960 Berlin International Film Festival, "Pierrot le Fou" receiving the Youth Critics Award at the 1965 Venice Film Festival, and "La Chinoise" winning a Special Jury Prize at the 1967 Venice Film Festival, the dozens of other films directed by Godard did not bring him a good reputation. Most audiences watching Godard’s films either feel bewildered or restless. Perhaps, Godard was born to be the enemy of cinema. In "Weekend," filmed in 1967, he stops the action—two garbage men talk directly to a camera for a full 7 minutes. In the opening part of the film, a woman wearing nothing but a bra and shorts sits at a half-lit table, directly addressing a zooming-in and zooming-out camera, narrating in detail a revel she attended. This segment also lasts several minutes. The radical Godard challenges Hollywood in this way, because, in his view, the smooth editing and fast pace of Hollywood films are designed to cater to audiences, dulling them into a dreamy state and willingly allowing them to endure bourgeois exploitation. He even believes that cinema itself is bourgeois, and to resist the bourgeoisie, all cinematic traditions need to be shattered. It is this cinema that does not resemble cinema that makes good films worth shooting.