Jean-Luc Godard's Weekend, released in 1967, embodies the entire French Nouvelle Vague cinema at its peak, as well as being a masterpiece and a success world. Littered with different types of cuts and camera angles, as well as lots of bright colors, Godard creates a fun, incident-filled piece with a dark underlying plot. The combination of these seemingly opposing factors only adds to the genius of Godard, who throughout the piece hints at something deeper thematically: the human self-destruction of civilization. Right from the beginning of the film, in the opening car crash scene, the film literally starts off with a bang. Godard seems to like cars, chasing them and crashing them, just like the car chase in his film from two years earlier, Alphaville. From then on, the psychopathic couple will have many strange and different encounters and cross many accident-filled roads on their journey. Godard somehow manages to mix humor and violence extremely well in the film, somehow making all the violent acts seem much more casual; for example, while waiting for a ride Corinne is randomly raped, and then the story moves on. The inclusion of all these random, strange, and somewhat terrifying acts only helps Godard's vision of the “terrible” world and the people who inhabit it. While these acts are frightening and a little demented, the nonchalance that sets the tone of the film leaves the audience spellbound and wondering what will happen next. Aside from the exciting plot and many side stories of Weekend, the shots and angles that Godard uses also definitely help to attract the audience. The entire course of the film unfolds with one long shot after another, each seemingly endless as the screen continues to move slowly... center of the card... if a little ironic, it was that speed of Roland and Corinne from the accident as if nothing had happened, without taking a second to reflect on the situation around them and ready to get back on the road. However, much of the greatness of the shot comes from just that, the shot. Godard uses tracking shot a lot throughout the film, however here it is spectacular. It's longer than ever and is extremely smooth and consistent, easily making it the greatest long shot of its time and certainly earning it a place among the best today. New things keep appearing on the screen for the viewer and keep them extremely interested and excited for what comes next. This famous and groundbreaking shot, as well as others like it, exemplify Godard's greatness and are what characterizes and adds to the supremacy of the French New Wave cinematic era.