Weekend

In reading several reviews posted about this outstanding film, I note several things:

*I'm sick to death of people complaining they cannot understand English people speaking English. Pay attention, they are completely understandable!

*This isn't a romantic comedy!

*If straight audiences are squeamish about a movie anyone can relate to--well tough!

A superior film about a sexual and then romantic period in two young men's lives, WEEKEND is a riveting and adult piece of filmmaking. Andrew Haigh's writing and direction is so well observed and detailed the viewer is left astounded at the simplicity of his vision and the skill of his masterly direction.

Tom Cullen and Chris New play Russell and Glen with utter conviction, all the more impressive in their love scenes, and in their moments of intimate touching because one of them is straight. This must have been nerve-wracking for both of them and yet they handle these scenes with restraint and with believable ardor.

I loved the scene where Russell is visiting his straight best friend and finally admits he is deeply shaken by Glen. His friend is perfectly happy and insistent to drive him to the railroad station.

The only scene that didn't completely work for me was their night of boozing and drugging. I just didn't see Russell indulging in cocaine and while I know some people think it makes the mind clear, but there are no real revelations during this long night. Reminded me of another long filmed sequence--that endless wedding reception in Rachel Getting Married. A real misstep.

The chemistry between Russell and Glen's characters goes a long way towards the film's excellence. There is nothing cute, or silly, or humiliating or just plain dumb between these two very likable men. The camera allows you to discover them and the movie is a real gem for it.

I just watched WEEKEND at a screening at the Oslo LGBT film festival, and am still in shock. This is the most real cinematic version of guys falling in love in recent history. I'm a filmmaker myself, and was blown away by the caliber of the writing, directing, acting, cinematography, editing, and music of this fantastic film. There's not a false note in the movie--everything rings true, even the ending (no spoilers here.) It's the rare film, like WINTER'S BONE last year, that at every turning point takes what I call the elegant decision. WEEKEND is at a higher level than all other LGBT films playing the festival circuit this year (the only other film near this level is Tom Twyker's 3.) Actually, it's at a higher level than almost all films playing anywhere this year. Where did this film come from? Apparently the brilliant mind of Andrew Haigh (writer/director/editor), who, I noted on an IMDb search, started as an apprentice editor on GLADIATOR, and then assistant editor on BLACK HAWK DOWN (working with the master editor Pietro Scalia on both. Go UCLA!) I look forward to seeing more of Haigh's work. Do not, I repeat, DO NOT miss this movie.

I watched this film after a friend highly recommended it. The gay film festivals and critics' awards and nominations it's been getting are much deserved.

Russell (Tom Cullen), a young gay man in Nottingham, UK, picks up Glen (Chris New) at a nightclub. They have a one-night stand but realize they share much more than animal attraction. They spend a weekend together trying to figure out whether or not they can turn this into something "concrete".

"Weekend" is part of the 'brief encounter' subgenre I am a big fan of. It's a 'talkie' for excellence; if you love films like "Lost In Translation", "Before Sunrise" and "Before Sunset", you'll probably be smitten by this as well. A naturalistic approach to filmmaking - especially to such a dialogue-driven narrative like this - is very hard to pull off; but writer/director/editor Andrew Haigh knows how to create sparks. Special kudos go to the excellent protagonists, Tom Cullen and Chris New, whose on-screen chemistry is palpable, moving, and simply a pleasure to watch. This is a weekend you shouldn't sleep through.

Just back from seeing Weekend at a mainstream cinema in London and simply wanted to say that the other reviewers here have hit the nail on the head perfectly. This film is literally flawless - so real, so well acted, naturalistic dialogue spoken utterly naturally. It captured my 20s in a bottle. Thank you to all involved. I'd forgotten cinema could be this fantastic. I liked the fact that the film's location was kept anonymous - most appropriate, given that the film was so accurately observed and depicted that it could have been about many of my friends, all over the UK. Some excellent cinematography too - lingering shots of a normal British city, captured at sunset/mid-afternoon/anytime, worked well at keeping the pace reflective. Finally, the moments of passion were handled sensitively, but, again, so realistically. One particularly stunning moment was the cut away and sudden fast forward to the morning - somehow capturing instantly the bleak moment that follows ecstasy, but doing it in a non-showy way. I will be watching for more of Andrew Haigh's work.

I'm not English, male, or gay, so I probably missed some subtle points in this film, but I liked it a good deal. (Seven is a good rating for me, and this almost qualifies for an eight.)

The story of two new lovers getting to know each other after a drunken one-night stand is touching and revealing of the workings of the human heart. Not-quite-closeted shy Russell and in-your-face Glen are complex characters who change in the weekend they get together. Talking about points of disagreement helps each understand more about what they really feel about various issues. I felt the filmmaker captured what it is to be a real person having real discovery-type conversations. (I had a quick flash of Before Sunrise, when that film worked for me.)

The lovemaking scenes are indeed lovemaking. I was bothered by Brokeback Mountain's because the sex in it seemed so brutal (and I thought more than once "and that doesn't equal love; I'm unconvinced these two are in love at all"); but here, I felt I was witnessing two sane (or as sane as most of us are), healthy men interacting sensually and falling for each other, the sex being part of the increased tenderness and vulnerability between them. I mused on who would find it comfortable/uncomfortable to watch, and I wish I could tell people via this review if they could bear watching the two more explicit scenes or not. Probably if you're willing to watch this film at all, knowing the subject matter in advance, you'll be okay with the level of detail in the sex scenes. There are many moments not sexual which are more intimate and moving. Smart writing in those post-sex intimacies that comprise the bulk of the film.

I also liked the framing of many shots, particularly of Russell in his solitary moments, as the framing told the story of his alienation so clearly. (At one point I flashed on Jim Jarmusch--if someone gave him some color stock, it could have been a Jarmusch moment.) I particularly liked the insert of a scanning surveillance camera, as it heightened the sense that Russell is always aware of and reacting to the panopticon of homophobia all the time. Again, I thought, there is real intelligence in this filmmaking.

A smart, authentic, artistically done film, a terrific addition to the list of thoughtful, small/focused relationship films.