In Weekend, it burns.Įxamining the film through a structural-minded prism, one finds more obstacles than avenues into the sort of calcinating closeness that Haigh achieves. How can any facsimile of intimacy appear actual when the very presence of the camera, the audience's probing eye, molds what we see into a public pantomime? Film intimacy should never feel real, but sometimes, as if by miracle, it does. Such characteristics make its capture on-screen a paradoxical conundrum. In some ways, the very intimacy implies a shared vulnerability that bears a promise of privacy, if not secrecy.
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Now, the movie feels more candid, valuable for how it captures intimacy on film with an ease that's uncommon, unvarnished, but not unerotic. Instead, I have grown up, lived through events that make me appreciate the movie as a crystallizer of ineffable truths rather than a surreptitious glimpse.īefore, it was vaguely aspirational, even though Haigh and company offer little in the ways of dreamy idealization, lacing every sweet kiss with bitter sorrow. However, that idea of distance persists, mutated into different shapes. Revisiting the work, a decade after the fact, there's little innocent wonderment left, nor is there that particular awe of the curious teenaged mind in how I look at Weekend. Nevertheless, it was somehow distant too. It felt natural, vibrating with the genuine power of observational details and behavioral insights. Once upon a time, I felt as if Haigh's picture opened a magical window into life experiences I had yet to go through. Looking at Weekend as a 27-year-old is very different than watching it as a teenager. And yet, a decade later, that small British indie still stands as the director's most remarkable achievement… Despite the limited scope of all his projects, everything Haigh has done since Weekend feels much larger, more conspicuously ambitious.
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Contextualizing the work in such ways makes it seem even smaller than it already is, a miniature of gay urbanite life and the emotional ties that blossom from a night of casual sex. The director's second feature put his name on the map and opened up an artistic path that would bring us such precious cinematic gems as 45 Years and Lean on Pete, as well as the televisual delights of Looking. Ten years ago, Andrew Haigh's Weekend opened in American theaters after a long travail through international film festivals.