WEEKEND

All this would be nothing, however, without the arresting central performances from the two leads, both newcomers. The characters are beautifully developed already in the screenplay, but these actors inhabit and expand on them with complete conviction. Chris New is a firecracker as Glen, an exploding ball of energy and playful spite. Glen is a man adrift, unsure of his place in this world, and New has a wonderful sense of aloofness about him, making him that perfect balance of charming and mysterious. Tom Cullen as Russell is the real find of the film, though. As the antithesis to Glen’s energy, Russell is a beautifully quiet, feeling soul. The film is told from his perspective, and his unassuming nature make him the perfect sympathetic protagonist. While Glen is an openly sexual being, it takes the course of the weekend for Russell to allow himself to let go and embrace his emotions, rather than trying to make them comply to how he thinks he should act. Both characters, while handsome young men, are painfully ordinary at the same time, giving the film another terrific layer of realism. Their chemistry is electric, and the screen sparkles whenever they are together.

At its heart, ‘Weekend’ is a magical film about real people, regardless of their sexual preference. If it has any political or social agenda, it is simply to say that love is a universal emotion, capable of being felt by anyone. That in itself is a powerful cinematic statement to make, and will inevitably make a far greater and more significant impact. There is a rare balance to this film, and a maturity you don’t see very often in its handling of intimacy and adult relationships, with moments of tremendous humour tempered by gut-wrenching heartache. This is not a romantic fantasy, but realism at its best, and destined to become a classic. Definitely an early contender for one of the best films of the year.