Call it genius, self-indulgence or sheer creative ebullience, but Jean-Luc Godard makes his movies like a kid with his first camera. He follows where the camera leads rather than vice versa, with the result that irrelevancies abound, digressions sprout further digressions, and good sight gags are run into the ground by repetition. Godard's pictures are often so visually rewarding, however, that he gets away with a lot of nose-thumbing at audiences.
All this is amply demonstrated in Weekend, Godard's latest diatribe against the bourgeois world. Two or Three Things I Know About Her...
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