Weekend finds Godard in transition; it is often cited as a breaking point between the director’s innovative early narrative work and the Marxist polemics of his films of the 1970s. Corinne and Roland are a bourgeios married couple with murderous intentions toward each other. As they travel together from Paris to Oinville, intending to collect Corrine’s inheritance from her dying father, they lose their way and become wanderers who witness the dissolution of society (as well as the disintigration of traditional narrative structure). Revolutionary politics, cannibalism, and one of the greatest traffic-jam scenes in screen history all factor into Godard’s apocalyptic vision as the film builds to its bloody, disturbing conclusion.