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  • Weekend (The Criterion Collection) [Blu-ray]
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Weekend (The Criterion Collection) [Blu-ray]


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Frequently Bought Together

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Product Details

  • Actors: Mireille Darc, Jean Yanne
  • Directors: Jean-Luc Godard
  • Format: Multiple Formats, Blu-ray, Widescreen, NTSC, Subtitled
  • Language: French
  • Subtitles: English
  • Region: Region A/1 (Read more about DVD/Blu-ray formats.)
  • Aspect Ratio: 1.66:1
  • Number of discs: 1
  • Rated: NR (Not Rated)
  • Studio: Criterion Collection
  • DVD Release Date: November 13, 2012
  • Run Time: 104 minutes
  • Average Customer Review: 3.6 out of 5 stars  See all reviews (42 customer reviews)
  • ASIN: B008Y5OW70
  • Amazon Best Sellers Rank: #39,819 in Movies & TV (See Top 100 in Movies & TV)
  • Learn more about "Weekend (The Criterion Collection) [Blu-ray]" on IMDb

Special Features

  • New, restored high-definition digital transfer, with uncompressed monaural soundtrack on the Blu-ray edition
  • New video essay by film critic Kent Jones
  • Archival interviews with actors Mireille Darc and Jean Yanne and assistant director Claude Miller
  • Excerpt from a French television program on director Jean-Luc Godard, featuring on-set footage of Weekend shot by filmmaker Philippe Garrel
  • Trailers
  • PLUS: A booklet featuring an essay by critic and novelist Gary Indiana

  • Editorial Reviews

    This scathing late-sixties satire from Jean-Luc Godard (Breathless) is one of cinema’s great anarchic works. Determined to collect an inheritance from a dying relative, a bourgeois couple travel across the French countryside while civilization crashes and burns around them. Featuring a justly famous centerpiece sequence in which the camera tracks along a seemingly endless traffic jam, and rich with historical and literary references, Weekend is a surreally funny and disturbing call for revolution, a depiction of society retreating to savagery, and—according to the credits—the end of cinema itself.

    Customer Reviews

    3.6 out of 5 stars

    Most Helpful Customer Reviews

    29 of 34 people found the following review helpful By A Customer on July 24, 2000
    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 20 people found the following review helpful By A Customer on May 22, 1999
    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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    18 of 21 people found the following review helpful By "johnewark" on 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 By Oliver Sheppard on 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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