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ACTOR
John HargreavesBriony BehetsMike McEwenRoy Day
DIRECTOR
Colin Eggleston
SYNOPSICS
Long Weekend (1978) is a English movie. Colin Eggleston has directed this movie. John Hargreaves,Briony Behets,Mike McEwen,Roy Day are the starring of this movie. It was released in 1978. Long Weekend (1978) is considered one of the best Horror,Mystery,Thriller movie in India and around the world.
When a suburban couple go camping for the weekend at a remote beach, they discover that nature isn't in an accommodating mood.
Same Actors
Long Weekend (1978) Reviews
the most remarkable unsettling film ever.
If you get a chance to watch this movie, just do it! That's an order!!! The leading couple is simply excellent. The natural setting, at first enchanting, becomes more and more frightening. The atmosphere couldn't get more gruesome. Only Australian films succeed in creating so much thrills. You'll never go to the beach the way you used to. Jaws made you terrified at the idea of getting wet, Long Weekend will convince you in staying comfortably at home on holidays. What is the fun of getting lost in nature like that, anyway? The ecological message of the script, pretty obvious, never interferes with the suspense of the story. The main characters, evidently archetypes of the modern couple, are apparently doomed from the very beginning. However, the audience gets a weird masochistic pleasure in witnessing their nightmarish destiny. Long Weekend is an unknown masterpiece that must be seen urgently. Please do!
the most intelligent animal aggression film
(Excuse the possible vocabulary or grammar mistakes, I am French) The originality - and the force - of "Long week-end" is that it is an animal attack film... without animal attack. The two characters of the film commit a succession of little aggressions towards the Nature (with a great N), which will revenge herself, but never directly. Mentioning examples would reveal too much of the film. I will only say it is a real ambient movie, without action, but which distils a traumatic veiled anguish. The final is particularly perturbing and ironical. The term "unknown masterpiece" seems to be created for this film !
An all-time favorite
A bickering couple decide to spend a long weekend at a secluded beach. Once there, the disrespect they show for their surroundings leads to nature taking it's revenge on them. This is the epitome of Australian horror. Not only is it the best horror film to come from down under, but it's one of the best horror films, period. I first discovered this film back in the late 90's and was quite blown away by it. I love the nature strikes back sub-genre, but never had I found such films to be legitimately frightening. "Long Weekend", however, really got to me. I'm happy to say that it's still just as effective to this day. The mood, the haunting score, the atmosphere of the beach and the overall sense of nature conspiring against the characters all makes for a remarkable amount of tension. I love this film for many of the same reasons that I love "The Blair Witch Project", though there are many differences between the two as well. What's more, the animals attacks never come off as fake. A scene where an eagle comes in search of it's egg is raw and eerie. There are no fake birds on wires or men in bear suits to be found here. Our two leads aren't very likable, but that doesn't keep the film from being an unsettling experience. You have to love the ending too, which brings things full circle. A masterpiece of mood and tension, "Long Weekend" stands the test of time.
Don't mess with the Supernatural!
...when I first saw THE BLAIR WITCH PROJECT, I kept thinking that I'd seen this basic idea before, and this was where it was. The basic setup is different -- this time it's a married couple who take their bickering into a camping weekend -- but the effect is identical, with supernatural forces terrorising them for daring to trespass onto the wrong territory. The suspense is a slow build, and there's even some touches that popped up in later flicks; for instance, the idea for the shot of the scorpion being run over by a truck in close-up during the opening title sequence of NATURAL BORN KILLERS was taken directly from this one. Part of the first major wave of Australian pictures that made a big splash in the States circa '79 and '80 -- among the others were GALLIPOLI, BREAKER MORANT and THE LAST WAVE -- LONG WEEKEND is, unfortunately, one of the forgotten gems of the period. If you ever see an old video of it in a shop somewhere -- anywhere -- grab it. And watch it...
Semi-classic mood piece about nature turning on a young couple
Peter (John Hargreaves) and Marcia (Briony Behets) are a modern Sydney couple whose sophisticated lifestyle is ruled by dinner parties, money making and infidelity. With their marriage in near terminal decline, Peter drags his reluctant wife on a camping trip to an isolated northern beach for the long weekend, in the hope that going back to basics will somehow bring them back together. Driving through the dark and the rain, the bickering couple is soon completely lost. The following dawn reveals a secluded paradise, but if Peter is envisaging a surf-'n'-sex idyll straight out of The Blue Lagoon, what he gets is a nightmare much closer to The Birds, or Open Water. For this savage new landscape seems to resonate with the couple's bitterest secrets, as nature imposes her own strange and implacable reality upon the trespassing city slickers. Colin Eggleston takes the premise of nature's revenge to its most mysterious and over determined limits. On the one hand, it seems obvious that the many animal attacks in the film serve as punishments for the human characters' repeated acts of hubristic transgression, be it Peter's running over of a kangaroo, chopping down of a tree, shooting a dugong, harassing a possum, or Marcia's angry destruction of an eagle's egg. On the other hand, the bush land, in all its merciless inescapability, appears to be a metaphor for the childless marriage in which the two principals have become trapped. At the same time, it seems that Peter and Marcia are not nature's only victims and casual background references to nuclear testing and oil exploration hint at a broader ecological agenda. Amidst this superabundance of interpretative frames, there are also some moments that are genuinely beyond any kind of rationalisation, lending Long Weekend an air of eerie irresolution. Under Eggleston's moody direction, even the most minute of sounds is over amplified to explosive volume and the voyeuristic camera-work tends to be from the ground up, as though from the point-of-view of lurking critters, so that the wilderness locations, for all their natural beauty, seem to brim with the tension of unbearable foreboding. Neither Hargreaves, nor Behets, shrink from the narcissistic unpleasantness of their characters, in what are bravely unflattering performances. Best of all is the ending, which, though shockingly abrupt, is, within the film's elaborate nexus of motifs, totally, perfectly right, only to be topped by a final, fern-laden image that is haunting enough to do the actor Andrei Tarkovsky proud. Made in a country where outback dangers are never more than a short drive away, Long Weekend illustrates the fragile veneer of civilisation, constantly under threat from both nature and the feral heart of man. Surrender to this film's insinuating spell and see if it makes you go wild.