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Weekend (1968)

Mireille Darc , Jean Yanne , Jean-Luc Godard  |  Unrated |  DVD
3.7 out of 5 stars  See all reviews (43 customer reviews)

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Weekend + 2 or 3 Things I Know About Her (The Criterion Collection) + Band of Outsiders (The Criterion Collection)
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Product Details

  • Actors: Mireille Darc, Jean Yanne, Jean-Pierre Kalfon, Yves Afonso, Yves Beneyton
  • Directors: Jean-Luc Godard
  • Writers: Jean-Luc Godard, Julio Cortázar
  • Format: Closed-captioned, Color, NTSC, Anamorphic
  • Language: French (Dolby Digital 2.0)
  • Subtitles: English
  • Dubbed: French
  • Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  • Aspect Ratio: 1.66:1
  • Number of discs: 1
  • Rated: Unrated
  • Studio: New Yorker Video
  • DVD Release Date: August 23, 2005
  • Run Time: 105 minutes
  • Average Customer Review: 3.7 out of 5 stars  See all reviews (43 customer reviews)
  • ASIN: B0009NZ6RA
  • Amazon Best Sellers Rank: #167,382 in Movies & TV (See Top 100 in Movies & TV)
  • Learn more about "Weekend" on IMDb

Special Features

  • Audio Commentary by Critic David Sterritt
  • Interview with Raoul Coutard
  • Mike Figgis on "Weekend"
  • Biographies of Jean-Luc Godard, Cinematographer Raoul Coutard, Film Director Mike Figgis and Prof. Colin MacCabe
  • Theatrical Trailer
  • Scene Selections

Editorial Reviews

The master of the French New Wave indicts consumerism and elaborates on his personal vision of Hell with this raucous, biting satire. A nasty, scheming bourgeois Parisian couple embarks on a journey through the countryside to her father's house, where they pray for his death and a subsequent inheritance. Their trip is at first delayed, and later it is distracted by several outrageous events and characters including an apocalyptic traffic jam, a group of fictional philosophers, a couple of violent carjackers, and eventually, a gross display of cannibalism. By the time the film concludes, their seemingly simple journey has deteriorated into a freewheeling philosophical diatribe that leaves no topic unscathed. With WEEKEND, Jean-Luc Godard reaches an impressive plateau of film originality, incorporating inter-titles, extended tracking shots, and music to add an entirely new grammar to film language. The result is a deeply challenging work that will most certainly invigorate some viewers just as much as it will as frustrate others. Standout highlights include a jarring, sexually graphic opening monologue shot with a roaming camera and blaring musical accompaniment, and the infamous traffic jam scene, where an endless parade of cars sit bumper to bumper amidst burning cars, picnics, and honking horns. The work of a true artist and pioneer, Godard's WEEKEND is a landmark film that hasn't aged or lessened in impact over time.

Customer Reviews

3.7 out of 5 stars
(43)
3.7 out of 5 stars
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Most Helpful Customer Reviews
18 of 19 people found the following review helpful
5.0 out of 5 stars Godard's best May 22, 1999
By A Customer
Format:VHS Tape
An utterly brilliant pastiche from Godard. JLG gives us a nightmarish vision of contemporary bourgeois society in which the apocalypse takes on the form of a series of bloody car wrecks and cannibalistic revolutionaries running wild. Even the scenes that don't work, like the bizarre encounter with Emily Bronte and Louis Carroll and the 18th-century French revolutionary reading a political tract, are forgiveable simply because they only add to the anarchic nature of the film. How many other movies have you seen that feature a woman screaming before a horrific car accident because she left her handbag inside, or a speech on Hitlerism and African slavery intercut with clips of traffic jams?
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28 of 33 people found the following review helpful
5.0 out of 5 stars An Outstanding Film--But Not for Everyone... July 24, 2000
By A Customer
Format:VHS Tape
The review on this page which claims that Weekend is one of the worst films ever missed the point and was not apparently, given the reviewer's qualms with the movie, the intended audience for the film.
Weekend marks Godard's nearly-formal break with "bourgeois film-making," i.e., film-making which has as its sole criteria to "entertain" (as in escapism), to engage in linear story-telling, and to reinforce film cliches, formulas, and all the trappings of popular western (and especially American) film-making.
In the movie, the audience witnesses the collapse of the narrative, the disintegration of formal film technique, and--more literally--the degeneration of western civilization. A ten-minute-long traffic jam, the barbarism of pig slaughters and corpses littering the countryside, and the unsympathetic characterizations of the bourgeois couple on whom the film centers (if it does indeed have a center) have not been filmed to entertain, to comfort, or to lull the audience, but to provoke thought, to engage actively, and--quite possibly--to enrage actively as well.
Arriving at a conclusion, being "pretty" or emotional, or arranging details tidily would defeat the purpose of Weekend, which is to illustrate incoherence, savagery, and decline. And, in this regard, perhaps no film has better tampered with the status quo of film-making than Godard's Weekend has.
Also, it must be remembered that Weekend is a reflection, to a great deal, of the turbulence of the sixties, and in particular the student protests in Paris in 1968.
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18 of 21 people found the following review helpful
5.0 out of 5 stars The dangers of French Bank Holidays! April 17, 2002
Format:VHS Tape
With influences ranging from Freud to Marx, De Sade and Eisenstein having walk-on roles and the Parisian weekend transformed into an allegorical bourgeois hell,
Week-End is one of the defining films of the 20th Century. Born out of the nouvelle vague cinema (French New Wave), this is the terrible birth that is brought to light from J.L.Godard's obsession with prophesising the destruction and decline of the West. Even after taking into account his overt political messages, Weekend still exist as one of the most technically revolutionary pieces of cinema to emerge from his studios into a blinding glare of publicity and hostility.
Not content with depicting the destruction of western commercial values, Godard disrupts the visual narrative by interspersing film titles, book titles and music onto a background of patriotic red, white and blue colours. From a personal perspective, one of the most impressive sequences is an eight minute long tracking-shot of the Parisian highway which progresses from straightforward traffic jams to car-wrecks and the inevitable symbol of multinational Capitalism, a Shell oil truck. Essentially Week-End marks the 'Maoist period' of Godard's film-making career, during which he declared that 'the only way to be a revolutionary intellectual is to give up being an intellectual.'
Starring Mireille Darc and Jean Yanne, Week-End's fabular narrative is a weekend journey from Paris to Normandy which slowly becomes an apocalyptic struggle against the French peasant revolutionaries who continually intervene to prevent the couple meeting Darc's mother in order to find out whether they have successfully poisoned her father.
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21 of 28 people found the following review helpful
5.0 out of 5 stars My favorite Godard film July 25, 2005
Format:DVD
WARNING: SPOILERS BELOW

I've not seen all of Jean-Luc Godard's films, but of those I have seen this is my favorite. The narrative concerns a conventional, middle class, married couple who conspire to take a weekend trip to kill the wife's parents for money.

The car trip taken by the couple is comprised of a series of disastrous, improbable, and perplexing events. Art terrorists, thieves, rapists, and Marxist revolutionaries assail the couple at all turns. France is being overrun by weirdos! Bloody, flaming car (and plane!) crashes are everywhere. Violent demise is at every turn.

In the movie is a famous traffic jam scene that employed what was, up until the time of this movie's making, the longest dolly ever made. The scene is absurd, comical, and one of the delights of the movie. Likewise, Godard was becoming interested in socialist politics at this time in his career, in light of the Vietnam war and anti-colonial struggles that were happening globally, so a lot of "revolutionary" ideas are expressed by characters in the film. Unfortunately Godard most often has people simply read manifestos to the camera. Godard's political interests are thus conveyed in an awkward, cumbersome way. You do not have to agree with they're saying in order to enjoy the film.

Having said that, the movie is still one hell of a ride -- no pun intended. The bourgeois couple at the heart of the story don't care about the flaming chaos around them. They just want their money. At one point the husband even sits idly by as a stranger rapes his wife.

As a journey narrative of two people, WEEKEND (or is it WEEK END?)is reminiscent of Alejandro Jodorwosky's 1968 FANDO & LIS. (There was something in the water in the late 60s.
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Most Recent Customer Reviews
3.0 out of 5 stars tedious for the most part.
Some parts were funny, most of it was tedious and drawn out. First scenes of man and woman talking were BORING. Read more
Published 5 months ago by Barbara
5.0 out of 5 stars GREAT STUFF!
TOP NOTCH ALL THE WAY!!! GREAT STUFF!!! AAAAAAAAAAAAAAAA++++++++++++++++++
Published 7 months ago by Eric Eidelbach
5.0 out of 5 stars Weekend is Godard's greatest, except. . .?
Jean Luc Godard has made many pictures for us. "Weekend" stands alone (is that possible?) amongst Godard's flicks. Read more
Published 13 months ago by Richard Faust
5.0 out of 5 stars kill the rich
godard's bunuellian take on rich french families taking a weekend in the country. the scene with a young marxist couple crashing up against the rural mindset and a big tractor is... Read more
Published 14 months ago by oddy mrrfffy
4.0 out of 5 stars Interesting and disturbing film from Godard
Weekend is an explosive and creative work by the famed Jean-Luc Godard, a story of the apocalypse framed in an Alice in Wonderland-esque format. Read more
Published 14 months ago by SJreviewsEverything
2.0 out of 5 stars The "king" is naked
I read somewhere that Salvador Dali once said to some journalist: "Do you know why I am so rich? Because there are so many stupid people in the world!". Read more
Published 14 months ago by Yoselovich Boris
3.0 out of 5 stars So so
This movie is OK. However, it is certainly not one of Godard's best. It is one of his more political films in which he seems more inclined figurately to hit the viewer over the... Read more
Published 15 months ago by David Dixon
2.0 out of 5 stars Intellectual exercise only
Though in the tradition of the Theater of the Absurd and seemingly making an existential statement about bourgeois society and the human condition, this film is dated, tedious, and... Read more
Published 16 months ago by James Hercules Sutton
5.0 out of 5 stars My Favorite JLG Flick!
Feels like a premiere experience ... A terrific filmic transfer to Bluray by Criterion and wonderful supplements to top it off.
Published 18 months ago by W. Parr
3.0 out of 5 stars Some Fun
At times silly, dark, boring, irreverent, fun, boring, hip, and boring (European). While Weekend pushes the or breaks the limits of the film medium stylistically, it adheres... Read more
Published 19 months ago by M. Buchholtz
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