Everyone lives for the weekend. A stressful week of classes, assignments and extracurricular activities often results in the well−knownpressure−cooker effect on most college students, who use the weekend to blow off steam and indulge.
Although "Weekend" is removed from a college setting, director Andrew Haigh throws the audience into a parallel situation of anticipated release and hedonistic intoxication, infused with a strong suit of romance. The−low budget British film is a solid depiction of fleeting hookup love over a short span of time, speaking to the bittersweet palettes of ephemeral lovers everywhere.
The film opens with artfully framed, handheld shots exhibiting the minutia of Russell's (Tom Cullen) everyday life, as he readies himself for a party with some close friends. Nudity and drug use are shown even in the privacy of his daily routine, introducing audiences to the film's intimate and gritty gist.
Arriving at a party — and cueing many more marijuana and drinking references — Russell is stuck in a late night of laughs and camaraderie, although we are not convinced that he's having the time of his life. He explains to his best friend Jamie (Jonathan Race) that he has work in the morning, necessitating his early exit from the party — but his consequent clandestine actions tell viewers otherwise.
Russell sneaks away from his straight circle of friends and moves into a drunken, foreign world of flashing lights; there, at a gay bar, he meets Glen (Chris New). Russell's reserved nature from the previous party is gone; booze has erased all hesitation. As a result, he becomes entangled in a casual, sexual fling, which — contrary to the majority of random hookups — ends up deepening over the course of a weekend.
Russell is certainly the more conventionally masculine of the two, but he also is much more repressed than the inquisitive and provocative Glen. Glen immediately sees this in Russell, and openly confronts him about his sexuality and identity hang−ups. This push and pull of opposite personalities gradually builds tension.
The young leads expertly execute the series of intense physical and emotional exchanges between the two lovers. Cullen is able to convincingly make the gradual change from moody and cautious to bright and trusting without being heavy−handed. New's tetchy and forward performance is consistent, and his passion charms Russell and the audience alike.
Director Andrew Haigh creates multivalent levels of intimacy with his cinematographic and shot choices, often opting for low depth of field shots and rack focus to capture minute details of characters' reactions to emotional situations. The theme of selective focus provides ample contrast when the film transitions sharply to raw, deep focus sex scenes.
The choice to include graphic gay sex scenes is a bold move by Haigh, and may prevent the film from resonating with straight audiences. Regardless, he solidifies his risque shot choices with a compelling script that immediately addresses the cinematic and social portrayal of gay narratives, including a scene of Glen complaining about straight storylines that dominate society and the world at large.
Haigh also uses a number of repeated shots to develop the feeling of the impending antagonist of time and space that threatens to break the two apart. High−angle shots from Russell's apartment building make audiences feel distant and removed, widening the gap between the two characters. All things must inevitably come to an end, and Haigh artfully conveys this idea with varied shot choices.
The repetitive depictions of drug use and partying injure the film: The substance abuse seems so excessive at some points that viewers may wonder how the two main characters maintain consciousness. Although intoxication is used to emphasize the hedonistic, carpe diem attitude apparent throughout the film, it detracts from the overall believability of the situation.
Though I won't spoil the ending, I recommend enjoying this film on the big screen. "Weekend's" parallels with college hookup culture are obvious, and Russell and Glen's experiences are relatable and likely mirror stories from friends and fellow classmates. The bittersweet goodbye leaves audiences hopeful or apathetic, depending on their tastes and experiences with ephemeral romance.
