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Title: Weekend (2011)
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| Cast overview, first billed only: | |||
| Tom Cullen | ... | Russell | |
| Chris New | ... | Glen | |
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Jonathan Race | ... | Jamie |
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Laura Freeman | ... | Jill |
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Loreto Murray | ... | Cathy (as Loretto Murray) |
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Jonathan Wright | ... | Johnny |
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Sarah Churm | ... | Helen |
| Vauxhall Jermaine | ... | Damien | |
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Joe Doherty | ... | Justin |
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Kieran Hardcastle | ... | Sam |
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Mark Devenport | ... | Straight Man in Bar (as Mark Davenport) |
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Steve Blackman | ... | Straight Man in Bar |
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Julius Metson Scott | ... | Paul |
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Martin Arrowsmith | ... | Martin |
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Caroline Woolley | ... | House Party Girl 1 |
On a Friday night after a drunken house party with his straight mates, Russell heads out to a gay club, alone and on the pull. Just before closing time he picks up Glen but what's expected to be just a one-night stand becomes something else, something special. That weekend, in bars and in bedrooms, getting drunk and taking drugs, telling stories and having sex, the two men get to know each other. It is a brief encounter that will resonate throughout their lives. Weekend is both an honest and unapologetic love story between two guys and a film about the universal struggle for an authentic life in all its forms. It is about the search for identity and the importance of making a passionate commitment to your life. Written by Andrew Haigh
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.