For some, falling in love is easy. The problem can often be however, of not being loved back. If you're the stalker type then that can be a problem you can live with.
But sometimes there's almost an audible click between two people. Andrew Haigh's film is about just that: a gay couple who just hit it off over a weekend.
Russell (Tom Cullen) is at a party at his best friend's house. Although Russell is gay, his best friend is not. So invariably, as he's far from the campest of gays, Russell feels a little isolated in this particular crowd.
After a while Russell tells his friend that he's off home; the truth is however, that he decides to make a detour via a gay club in town. It's there he meets Glen (Chris New). Despite their different backgrounds, they soon find themselves in a relationship that almost has a life of its very own.
It all feels too good to be true for Russell, which, as it turns out, is exactly what it is. Glen has a bomb up his sleeve that has the power to wipe out their relationship as quickly as it began.
Haigh's film is a sweet and insightful examination of a relationship for its entire duration. It may well feature a gay couple, but it's not a gay film per se; the emotions that both characters are overcome by are universal and are certainly not restricted to one section of the population simply due to their sexual orientation.
This two-hander, as it were, predominately just features Cullen and New; the pair cope well, mainly dues to a script that gently reveals a couple of characters not only to themselves but to the audience at the same time. Cullen in particular gives an absorbing performance of a young man with very little in the way of excitement on the horizon. He's fully aware he's in a rut of his own making, but he's really in no rush to change it.
Together with New, they portray a couple coming together in a truly genuine light. It's not difficult to believe that although they've only spent a number of hours in each other's company, they already have the foundations for what could be a long term relationship.
It's perhaps this intensity that reduces the latter stages of the film to an uncomfortable pace. It's at this point where the script also feels a little on the loose side and Haigh relies on too many long glances and quiet moments to deliver emotional impact. Having done all the hard work of developing truly three dimensional characters, the script, and particularly the film's conclusion, sadly let down all the good work gone before.
But considering the inexperience of both the director and his two leading men, this Weekend should leave you with a feeling that it certainly had its worthwhile moments.