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A "civilized" husband and wife take off for a weekend road trip that rapidly proceeds from consumerism to cannibalism, wanton slaughter and automotive madness in Jean-Luc Godard's horrifying and hilarious apocalyptic comedy.
A brand new print of Godard's classic attack on the avarice, narcissism, and barbarity of bourgeois materialism, a pivotal work of both the director's career and of European cinema. An apocalyptic comedy, perhaps more germane now than when it was made, Weekend proceeds from consumerism to cannibalism, Hefner (a memorably erotic, and ultimately ridiculous, monologue) to Freud (the famous "totem and taboo" sequences that close the film). A "civilized" husband and wife (Jean Yanne and Mireille Darc) set out on a road trip and, faced with a series of increasingly violent mishaps and traffic accidents, merrily begin to maim and pillage to protect their possessions and then their lives. Godard's vision of consumer capitalism run amok — evoked most profoundly in the famous tracking shot alongside a seemingly endless traffic jam — ominously ends with the pointed final title "fin du cinéma." "It's [Godard's] vision of Hell and it ranks with the greatest. As a mystical movie, Weekend is comparable to Bergman's The Seventh Seal and Shame and Ichikawa's Fires on the Plain and passages of Kurosawa" (Pauline Kael).