Godard brilliantly and satirically depicts the horrors of bourgeois ideology and culture in the spectacle of Parisians fighting tooth and nail for their weekend leisure. Weekend is an explosion of images and ideas that critics have hailed as its director's most powerful work. Both violence and didactic alienation are used to shatter all illusions of fiction or comfortable “art”; narrative cinema is stretched to the breaking point. Weekend is both a summation of all previous Godard themes and techniques, and a step forward towards a truly revolutionary cinema of spectacle and argument. In Weekend, one sees “la femme mariée” - here, Mireille Darc romping through car-nage and forest in her Paris fashions, throwing a tantrum over the loss of her handbag in a bloody auto wreck - confronting the Maoists of La Chinoise, who themselves have evolved beyond summer vacation theorizing.

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