A newlywed couple receive a portable house as a wedding gift, hilarious chaos ensues to build it.

One Week, a hilarious 1920 silent film by Buster Keaton, explores new dimensions of silent comedy and flirts with experimental techniques. While the narrative follows a newly married couple building their prefabricated home, the film's focus lies on the innovative visual gags and Keaton's deadpan physical comedy. Simple objects like ladders and furniture become sources of outrageous chaos, defying logic and physics in Keaton's signature acrobatic style.

One Week's comedic brilliance lies in its manipulation of film form. The rapid editing pace keeps the audience on their toes, with unexpected cuts and reaction shots heightening the humor. Keaton also experiments with perspective, using wide shots to emphasize the absurdity of situations and close-ups to highlight his expressive physical performance.

While firmly rooted in slapstick comedy, One Week subtly breaks the fourth wall. Keaton occasionally acknowledges the camera, winks at the audience, or even manipulates the set design in playful ways. This self-awareness adds another layer to the film's humor and reflects the emerging experimentation within silent cinema.

One Week stands as a testament to Keaton's genius and a prime example of how comedic storytelling can push the boundaries of filmmaking. The film's influence on slapstick comedy and visual gags is undeniable, solidifying its place as a landmark in cinematic experimentation.