आलोचक समीक्षाएं

Bittersweet, achingly authentic, and so intimate it almost feels invasive.

Weekend builds into a powerful encapsulation of an identity crisis over the course of three passionate days.

British filmmaker Andrew Haigh's background in editing (from Gladiator to Mister Lonely) is evident in the casual beauty of moments that only appear "found," giving Weekend an engrossing documentary feel.

There is also a need for stories that address the complex entanglements of love and sex honestly, without sentiment or cynicism and with the appropriate mixture of humor, sympathy and erotic heat. Weekend, Andrew Haigh's astonishingly self-assured, unassumingly profound second feature, is just such a film.

A ticking stopwatch hangs over Weekend that amplifies the intensity of every conversation, every fight, every drink, every copulation. In other words, it's a device.

I hate to damage so fragile a work with overpraise, but, gay or straight, if you don't see yourself in this movie, you need to get a life.

Naturalistic without being ineloquent, heartfelt yet unsentimental, Weekend is the rarest of birds: a movie romance that rings true.

Weekend is a gay riff on "Before Sunrise" (1995), in which a man (Ethan Hawke) and woman (Julie Delpy) meet and fall in love in one night, before going their separate ways in the morning for what could be forever.

Earnest and understated, Weekend has the intimate look and feel of a two-character stage play that has been opened up -- but only slightly, with minimal addition of supporting players -- for a mostly faithful filmization.

Weekend settles into an intentionally minor-key groove, caught somewhere between bracingly direct honesty and cringingly mumbly pretense.