Jean-Luc Godard’s last ‘commercial’ film, Week-end marked a turning point. In telling the story of a bourgeois couple whose weekend break leads inexorably to chaos and cannibalism, Godard fashioned his most apocalyptic vision of social and cultural breakdown. The filmmaker’s disgust at the values of Gaullist French society has him mount the film as a savage Swiftian satire in which the central couple are desperate to secure their inheritance through murder. They hit the road and enter a nightmare landscape of highways strewn with burning cars and bloody corpses (there’s a stunning 7-minute take of a seemingly endless traffic jam) before emerging into a brave new world peopled by Maoist revolutionaries living like bandits in the woods.