Everyone is an isolated island. What Godard can do is to record those glimpses with his own lens. Perhaps the meaning of the movie is to inject dreams into reality. In fact, every movie is a dream. In the deep dream created by the lens, you can get, enjoy, and have the greatest freedom and madness. Follow your own voice to live and create, just like constantly digging into your own heart, with happiness and pain. It takes so many struggles, self-denial and overthrow, to fully trust the camera in your hands.
Godard's "Weekend" is the most difficult to understand of all his films, at least for me. Unlike previous movies, the biggest feature of this movie can be summed up in two words, broken and mixed. The whole movie seems to be composed of countless fragmented fragments. Although the elements in the movie are mixed, it is endless after careful appreciation. The avant-garde style, bright colors, glamorous and sexy plot, crazy and serious thoughts form a unique allure.
Using the lens to construct some seemingly unrelated scenes, and then connect these scenes in series to express a certain theme, this way of shooting can make the imagination concretized. Godard's shots can vividly show the details of the emotions, as well as his extreme and unique attitude. Some movies are for the commemoration of forgetting, some are the exploration and thinking of the unknown world, some are the self-release of the director, and some are the resistance to irresistible time. All of these are attributed to the various questions that exist in this world, and the film can just record the thinking and reflection on these issues.
The film "Weekend" mainly tells the story of a couple defrauding the inheritance. The focus is not on the inheritance itself, but on the story that happened in the process from here to there
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Satire:
After watching this movie, my most direct feeling is irony, irony of false fantasies, and dark irony of human nature. The film begins with a journey to defraud the inheritance. This journey is not as easy and beautiful as they thought. From the chaotic traffic jam, we can experience Godard's love for long shots and his ability to control. In the eight-minute traffic jam, Godard showed us a common situation in a modern civilized society. This is the first irony. In the process of traffic jam, Godard cleverly interspersed some scenes of car accidents, and these scenes may hint at the contradiction between living organisms and machines. This is the second irony. In addition to husband and wife, the characters in the film also include intellectuals, garbage workers, robbers, artists, and philosophers. The couple have contact with these people with different attributes during their travels. However, each contact is extremely rich. Dramatic. After arriving at the destination, the husband and wife killed their mother together and got the inheritance, but unexpectedly met the robber. This is the third irony.
attack:
In this movie, Godard is using his own way to contend with the world. The gloom of human nature is the ugly that everyone can't get rid of. After the accident, a woman escaped from the car and shouted "My Hermes." Bag", the man in the car and was killed in the car accident. In the so-called civilized society, disorder is not uncommon, and emotions have gradually weakened under the temptation of materials. When the couple met the robbers, they each chose to protect themselves. In the end, the husband was killed while escaping, and the wife had to stay. Finally, they chewed her husband's meat expressionlessly. The car accident scene in the film is much more real than the car chase scene in Hollywood. When Hollywood used technology to conquer the world film market, Godard used his lens to show us a more realistic scene. Every actor's performance was Record it truly. In the process of "traveling", the couple beat the philosopher, killed innocent aborigines, was raped by robbers, talked about 3P, accepted the help of proletarians, and so on. The conflict between the upper class and the lower class, the numbness and indifference between people, the proliferation of material desires, potential violent factors, the lack of belief, the loss of morality, and the barbarism in Western society are all used in this film. The form is expressed and expressed.
Dreamland:
A surrealist movie is more like a dream. In this movie, Godard mixes up various elements to combine a weird and weird image of apocalyptic apocalypse. The movie begins, and so does the dream. The roar of the driver, car accident, robbery, violence, murder, cannibalism, etc., Godard handled these elements very naturally. This world begins in a dream, and it also ends in a dream. The madness and sin in the dream are the most true portrayal in reality. If you use a city to describe Godard, it must be Paris. Paris at night is sexy and mysterious. Those quiet and just right sense of distance make people intoxicated and even addicted. The gorgeous and unfeeling images always make people carry A sense of distance that is hard to reach.
In this film, the car represents more than a carrier, it symbolizes the corruption, barbarism, and death in modern society. Godard’s criticism has always been merciless. In this film, Godard uses him. The lens of the Western European middle class and American capitalism is a sharp and harsh mockery. Compared with "Madman Pierrot", this film is more obscure and cruel-the injury and being injured between people, the death and being killed between people and machines
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In "Weekend" filmed in 1967, he stopped the action-two garbage collectors talked directly to a video camera for 7 minutes. In the beginning of the film, a woman wearing only a bra and shorts sits on a table in half-darkness and speaks directly to a zoomed in and out camera, narrating in detail her participation A carnival. This paragraph also lasted for several minutes. Godard, with radical thinking, used this method to contend with Hollywood. Because in his opinion, the smooth editing and fast pace of Hollywood movies are designed to cater to the audience, and then paralyze the audience, making them indulge in daydreams and willingly endure the exploitation of the bourgeoisie. He even believes that the film itself is of the bourgeoisie, and to resist the bourgeoisie, it is necessary to smash all film traditions. This way, a movie that is not like a movie makes a good movie worth shooting
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