In 1967, Jean-Luc Godard released his celebrated film Weekend. Its most famous scene, in which the two protagonists stubbornly overtake an extensive traffic jam in a Facel Vega Facellia cabriolet, is one of the longest tracking shots in the history of cinema: the camera slowly passes by the line of about 40 motionless cars whose occupants employ the most varied techniques to kill time. In what for Godard is a metaphor for life–the camera’s journey ends in a pool of blood, the victims and the crippled cars have meanwhile been cleared from the street–photographer Pascal Cavin sees an impressive catalogue of cars. By isolating and labeling the individual vehicles in 45 stills, he creates a thorough historical inventory of the automobile types populating the streets in the late 1960s.