Week End (1967)

Director:

Jean-Luc Godard

Writer:

Jean-Luc Godard (writer)

Release Date:

27 September 1968 (USA)

Genre:

Drama

Plot:

A supposedly idyllic weekend trip to the countryside turns into a never-ending nightmare of traffic jams...

Plot Keywords:

Cannibalism | Traffic Jam | Murder | Terrorism | Black Comedy

Awards:

1 nomination

Cast

Mireille Darc	...	Corinne Durand
Jean Yanne	...	Roland Durand
Jean-Pierre Kalfon	...	Le chef du Front de Libération de la Seine et Oise
rest of cast listed alphabetically:
Yves Afonso	...	Gros Poucet (uncredited)
Yves Beneyton	...	Un membre du FLSO (uncredited)
Juliet Berto	...	Une activiste du FLSO / La jeune bourgeoise accidentée (uncredited)
Michèle Breton	...	Girl in the woods (uncredited)
Michel Cournot	...	Man From Farmyard (uncredited)
Omar Diop	...	Mon frère africain (uncredited)
Jean Eustache	...	L'auto-stoppeur (uncredited)
Paul Gégauff	...	Le pianiste (uncredited)
Jean-Claude Guilbert	...	Le clochard (uncredited)
Blandine Jeanson	...	Emily Bronte (uncredited)
Louis Jojot	...	Monsieur Jojot (uncredited)
Valérie Lagrange	...	La femme du chef du FLSO (uncredited)
Jean-Pierre Léaud	...	Saint-Just / Le jeune minet du 16ème (uncredited)
Ernest Menzer	...	Ernest - le cuisinier / Le boucher du FLSO (uncredited)
Daniel Pommereulle	...	Joseph Balsamo (uncredited)
Isabelle Pons	...	(uncredited)
Helen Scott	...	Woman in Car (uncredited)
Georges Staquet	...	Le conducteur du tracteur (uncredited)
László Szabó	...	L'arabe (uncredited)
Virginie Vignon	...	Marie-Madeleine (uncredited)
Anne Wiazemsky	...	Une fille à la ferme (uncredited)

Directed by
Jean-Luc Godard

Writing credits (in alphabetical order)
Jean-Luc Godard		writer

Original Music by
Antoine Duhamel

Cinematography by
Raoul Coutard

Film Editing by
Agnès Guillemot

Production Management
Ralph Baum	....	production manager
Philippe Senné	....	production manager

Second Unit Director or Assistant Director
Claude Miller	....	assistant director

Sound Department
René Levert	....	sound

Production Companies

• Comacico
• Films Copernic
• Lira Films
• Cinecidi (co-production)

Distributors

• Adams Filmi (1969) (Finland) (theatrical)
• Les Films Copernic (1968) (Belgium) (theatrical)
• Athos Films (France)
• Atlantic Film (2009) (Sweden) (DVD)
• Connoisseur (UK)
• Grove Press (1968) (USA) (subtitled)
• Kinokuniya (2003) (Japan) (DVD)
• Magna (Italy)
• New Yorker Video (2005) (USA) (DVD)
• Pan Vision Oy (2009) (Finland) (DVD)
• Sherlock Home Video (2005) (Spain) (DVD)
• Yleisradio (YLE) (1991) (Finland) (TV)

Also Known As:

Le week-end
Week-End
Week-end, un uomo e una donna dal sabato alla domenica (Italy)
Weekend (USA) (promotional title)
Fim-de-Semana (Portugal) [pt]
Utflykt i det gröna (Sweden) [sv]
Víkend (Czechoslovakia) [cs]
Viikonloppu (Finland) [fi]
Week End (Argentina) [es]
Weekend (West Germany) [de]

Runtime:

105 min

Country:

France | Italy

Language:

French

Color:

Color (Eastmancolor)

Aspect Ratio:

1.66 : 1

Sound Mix:

Mono

Certification:

Spain:18 | France:-16 | Portugal:M/18 | Argentina:16 | Finland:K-16 | Sweden:15 | Switzerland:16 (re-release) | UK:18 | West Germany:18

Filming Locations:

Paris, France

Company:

Comacico

Trivia:

Premiere voted this movie as one of "The 25 Most Dangerous Movies".

Quotes:

Joesph Balsam: I am here to inform these modern times of the grammatical era's end and the beginning of flamboyance especially in cinema.

Movie Connections:

Referenced in Mauvais sang (1986)

Soundtrack:

Allo, tu m'entends

Still the meanest film on the block.

I gave this movie a 10 out of 10. I expect many people would feel hard-pressed to give it a 2 on the same scale, and I honestly wouldn't blame those who do. "Week End" is a machine built to provoke, and perhaps irritation as well as admiration can be a measure of such a machine's success.

For myself, I love it. It boils with anger, frustration, and insane energy. In one sense, it approaches film like the Cubists approached painting, breaking down images, ideas, characters and plot into startlingly photographed, almost geometric segments. But where the Cubists were to content to experiment with form Godard's instincts stay furiously political; it's as though an early Picasso had been commandeered and refitted by George Grosz.

Arrogance is not always a drawback, as rock and roll fans know-- and "Week End" is a terribly arrogant film. The director trashes every convention that he can think of. It's all thrown together-- music, dialogue, on-screen text, unvarnished political theory, frightening violence-- onto a bare hook of a plot: a young, apparently soulless couple go on a week-end trip in the middle of what appears to be the end of Western civilization. Without apologies Godard throws this mess on the table and asks the rest of us, "What have you got to match it?"

Sadly, not much. Cinema as an art has regressed rather than advanced since this film was released. (Godard himself stalled after "Week End.") Despite the rise of independently funded, non-Hollywood films in the past decade, no one seems ready to dare the sort of experimentation with what film could be that was begun in the 60s, and this is a sad thing. The films made by Godard at the height of his powers are all the more precious now. "Week End" is a document of a time when film mattered. It is an artifact, but it would only be dated if it had been surpassed. It does not rest in peace.