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1967 postmodern black comedy film
- Weekend (French: Week-end) is a 1967 postmodern black comedy film written and directed by Jean-Luc Godard, based on Julio Cortázar 's short story "La autopista del Sur".
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Weekend (French: Week-end) is a 1967 postmodern black comedy film written and directed by Jean-Luc Godard, based on Julio Cortázar's short story "La autopista del Sur". It stars mainstream French TV stars Mireille Darc and Jean Yanne.
- $250,000 (estimated)
- Antoine Duhamel
- "La autopista del Sur", by Julio Cortázar (uncredited)
- Raymond Danon
Weekend. Roger Ebert April 11, 1969. Tweet. May contain spoilers. Now streaming on: Powered by JustWatch. Year after year, Jean-Luc Godard has been chipping away at the language of cinema. Now, in "Weekend," he has just about got down to the bare bones. This is his best film, and his most inventive.
Weekend: Directed by Jean-Luc Godard. With Mireille Darc, Jean Yanne, Jean-Pierre Kalfon, Yves Afonso. A surreal tale of a married couple going on a road trip to visit the wife's parents with the intention of killing them for the inheritance.
- (15K)
- Adventure, Comedy, Drama
- Jean-Luc Godard
- 1968-09-27
Weekend. This scathing late-sixties satire from Jean-Luc Godard 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.
- Corinne Durand
May 19, 2021 · Weekend is a road trip, apocalyptic, nightmare comedy. Haha. This bourgeoise couple goes on a trip, the world is ending, and Jean becomes a cannibal (eating a English tourist). Godard is dedicated to the Armageddon here in his world-building.
Jean-Luc Godard fixes his considerable ire against French society and the broader human condition in the morbidly funny Weekend, an abstract road trip to damnation...
- (28)
- Comedy, Drama
Mar 17, 2017 · And yet, despite Godard’s apocalyptic outlook, Weekend is a work of remarkable aesthetic density, exhibiting a multiplicity of strategies for radically disrupting the accepted norms of narrative cinema, and overflowing with citations, allusions, in-jokes and set-pieces.