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'On a long weekend camping trip to a lonely beach, Peter and Marcia confront the despair of their marriage, as nature takes revenge on them' (National Film and Sound Archive blurb).
Notes
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The trailer for this film is available to view on YouTube: http://www.youtube.com/watch?v=FBtD9zPx0Gk (Sighted: 1/6/2012).
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This film is included in Screen Australia's collection 'Horror in Australian Cinema': http://aso.gov.au/titles/features/long-weekend/ (Sighted: 6/7/2012)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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The 10 Scariest Animals in Australian Cinema - Sorted
2022
single work
column
— Appears in: The Guardian Australia , 24 October 2022; 'Want to spend this Halloween being scared by sharks in a supermarket or a giant kangaroo? Look no further than this list of films to watch from Luke Buckmaster.' -
Down Under Rises Up : Nature’s Revenge In Ozploitation Cinema
2020
single work
criticism
— Appears in: Cine-Excess , May no. 4 2020; -
The Isolation at the Heart of Australian Horror
2020
single work
column
— Appears in: Kill Your Darlings [Online] , November 2020;'Australian horror films have always had a unique fascination with the continent’s landscape. Though the genre has evolved from the Ozploitation era into more complex territory, it remains moulded by the terra nullius myth and a colonial sense of disconnection from the land. '
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Dead Heart : Australia’s Horror Cinema
2018
single work
column
— Appears in: FilmInk , 31 October 2018; -
An Apocalyptic Landscape : The Mad Max Films
2011
single work
criticism
— Appears in: Apocalypse in Australian Fiction and Film : A Critical Study 2011; (p. 83-107) In this chapter Roslyn Weaver explores 'the three Mad Max films to consider their contribution to the apocalyptic tradition. In these texts, the outback is 'the nothing,' a threatening place that is hostile to humans. The trilogy reveals future disaster and appears to envisage a better new world, but then subverts apocalyptic hope by suggesting the new world is a false ideal because it only exists far from the Australian landscape and even then only exists far from the Australian landscape and even then only in ruined, decayed form. The repeated dismissals of hope and the negative image of the Australian landscape undercut any security of feeling at home, presenting instead a picture of exile and punishment in the desert.' (83)
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Long Weekend
2008
single work
review
— Appears in: Senses of Cinema , 2008 no. 48 2008;
— Review of Long Weekend 1978 single work film/TV -
Gothic Definitions : The New Australian "Cinema of Horrors"
2011
single work
criticism
— Appears in: Antipodes , June vol. 25 no. 1 2011; (p. 91-97) This paper examines ‘ the pervasive presence of horror materials, in both thematic and stylistic terms, within the Australian feature film industry from its re-establishment at the end of the 1960s to the present.’ (p. 91) -
Everett de Roche
Paul Davies
(interviewer),
2008
single work
interview
— Appears in: Senses of Cinema , 2008 no. 48 2008; -
An Apocalyptic Landscape : The Mad Max Films
2011
single work
criticism
— Appears in: Apocalypse in Australian Fiction and Film : A Critical Study 2011; (p. 83-107) In this chapter Roslyn Weaver explores 'the three Mad Max films to consider their contribution to the apocalyptic tradition. In these texts, the outback is 'the nothing,' a threatening place that is hostile to humans. The trilogy reveals future disaster and appears to envisage a better new world, but then subverts apocalyptic hope by suggesting the new world is a false ideal because it only exists far from the Australian landscape and even then only exists far from the Australian landscape and even then only in ruined, decayed form. The repeated dismissals of hope and the negative image of the Australian landscape undercut any security of feeling at home, presenting instead a picture of exile and punishment in the desert.' (83) -
Australian Eco-Horror and Gaia's Revenge : Animals, Eco-Nationalism and the 'New Nature'
2010
single work
criticism
— Appears in: Studies in Australasian Cinema , vol. 4 no. 1 2010; (p. 43-54)'We hear so much about extinction in debates around climate change. But what about those animals that go feral and then return – bigger, hungrier and angrier – to wreak revenge on humans who may have done them injustice? Using an eco-postcolonial framework, this article examines how a number of exploitation horror films have dealt with environmental topics and issues of trespass. In particular, I examine the agency of animals – crocs, pigs, thylacines and marsupial werewolves – in some key Australian eco-horror films from the last 30 years: Long Weekend (Eggleston, 1978), Razorback (Mulcahy, 1984), Dark Age (Nicholson, 1987), Howling III: the Marsupials (Mora, 1987), Rogue (Greg McLean, 2007), Black Water (Nerlich & Traucki, 2007) and Dying Breed (Dwyer 2008). On the one hand, these films extend postcolonial anxieties over settler Australian notions of belonging, while on the other, they signify a cultural shift. The animals portrayed have an uncanny knack of adapting and hybridizing in order to survive, and thus they (the films and the animals) force us to acknowledge more culturally plural forms of being. In particular, these films unwittingly emphasize what Tim Low has termed the ‘new Nature’: an emerging ethic that foregrounds the complex and dynamic interrelationships of animals with humans.'
Source: Publisher's blurb.
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Dead Heart : Australia’s Horror Cinema
2018
single work
column
— Appears in: FilmInk , 31 October 2018;