Weekend | Little White Lies

Week­end

04 Nov 2011 / Released: 04 Nov 2011

Words by Paul Weedon

Directed by Andrew Haigh

Starring Chris New and Tom Cullen

Two individuals sleeping peacefully in bed, covered in blue bedding.
Two individuals sleeping peacefully in bed, covered in blue bedding.
3

Anticipation.

Plenty of buzz from the festival circuit.

4

Enjoyment.

Refreshingly natural performances and an honest depiction of gay life and romance, free from the tropes that often mire exploration of such topics.

4

In Retrospect.

A remarkable film that signals an exciting new voice in the LGBT landscape.

A remark­able fea­ture debut from Andrew Haigh sig­nals an excit­ing new voice in LGBT cinema.

Pow­ered by a refresh­ing­ly hon­est approach to its sub­ject mat­ter and two remark­ably nat­u­ral­is­tic lead per­for­mances, Andrew Haigh’s inti­mate dra­ma fol­lows two gay men who form an unex­pect­ed­ly close rela­tion­ship fol­low­ing what is expect­ed to be a one-night stand.

Rus­sell and Glen (new­com­ers Tom Cullen and Chris New) meet in a gay bar one evening lead­ing to them spend­ing the night with each oth­er. But while their time togeth­er is ini­tial­ly writ­ten off as lit­tle more than a chance encounter, over the course of a week­end the duo begin to dis­cov­er a deep­er con­nec­tion, lead­ing to what was ini­tial­ly intend­ed as a brief fling spi­ralling into some­thing much more significant.

Some­thing of a chal­leng­ing sell to main­stream audi­ences per­haps, Weekend’s appeal lies not in its explo­ration of gay themes, but in its com­pelling­ly accu­rate por­tray­al of fledg­ling romance. While Haigh’s film posi­tions its focus on the con­tem­po­rary gay expe­ri­ence, its obser­va­tions about the awk­ward­ness asso­ci­at­ed with forg­ing new rela­tion­ships are entire­ly universal.

Any­one who has ever gone through the expe­ri­ence of ini­ti­at­ing a rela­tion­ship is like­ly to find some­thing to relate to, an impres­sive feat giv­en the large major­i­ty of main­stream dra­mas that try but utter­ly fail to engage audi­ences in this regard.

Weekend’s infre­quent but often brac­ing­ly graph­ic sex­u­al imagery may appear con­fronta­tion­al to some, but this is arguably Haigh’s inten­tion, giv­en that the film’s under­ly­ing mes­sage is effec­tive­ly one that ral­lies against prej­u­diced het­ero­sex­u­al atti­tudes to homo­sex­u­al­i­ty in pop­u­lar cul­ture. It’s an admirable approach cer­tain­ly, and one done in a suf­fi­cient­ly under­stat­ed way so as to appeal to a wider audience.

The end result is an assured piece of work that pro­vides an astute depic­tion of gay life while admirably avoid­ing the pit­falls of dat­ed stereo­types to tell an authen­tic and believ­able love story.

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