Opiniões dos críticos

Knowing that intelligent audiences will ultimately respond to specificity rather than generics, Haigh actually created the crossover movie about same-sex relationships we all (should) have been waiting for. Defiant yet never strident, Weekend can't help but be a political film, yet it comes at its social progressivism simply by being true to itself.

As a one-night stand turns into something more, the film captures a truth most others only imply: to meet someone new, not least a potential partner, is also to rethink who you are, an invitation to shape and refine the self you wish to be. As one of the protagonists puts it: "You become this blank canvas.

Every moment advances the push and pull between Russell and Glen, which represents the classic argument between two closet romantics who repress that romanticism in differing fashions. Weekend is a study of the minute physical specifics of an instant attraction that, by the end of the film, has probably blossomed into a love that might trigger two personal reckonings.

[Weekend] is utterly convinces as a portrait of the first days of a new relationship, Haigh working wonders with long, crisply framed takes and two astonishingly sincere and nuanced performances. This is a film full of idle, languid moments, which are transformed by the context into instances of discovery, revelations of personality.

[Weekend] is 'talky' but it rarely feels forced... And although there are serious issues here, offering plenty of food for thought, Haigh doesn't lecture and his characters and their relationship never plays second fiddle to politics.

Weekend is full of the raw mundanity of everyday life, but tinged with a hopeful optimism that really moves. It’s Richard Linklater’s Before Sunrise (1995) – but with two blokes – in Nottingham. A superb slice of contemporary British cinema from an hugely talented filmmaker.

There's a fresh, sweaty, honest, unpretentious air to [Weekend]... and we genuinely believe that something like love has come into [the protagonists'] yearning lives.

Unassumingly excellent... There is sadness here, as well as romance, and a sense that sexual experience is not merely exciting for its own sake, but an adventure in defining one's sense of self... [Weekend] is a tender, humane film, with an easy, unforced cinematic language: a film that doesn't need to try too hard.

Haigh’s film is written with a shrewd, unpretentious feel for the way young people behave when they’re getting to know each other, shot with a keen eye for urban solitude, and completely nails its seemingly modest tasks: frank talk about the challenges and politics of growing up gay, which never underlines itself or comes crashing down on us as a message.

Political yet never preachy, Haigh challenges the mainstream heterosexual narrative by subverting that cornerstone of hetero orthodoxy: the rom-com. The irony is, though, that Weekend is the year’s wittiest hymn to romance. [Jamie Dunn]

Like Before Sunrise, the real joy of writer/director Andrew Haigh's film... is in watching two people make bedrooms, overpasses, kitchenettes, and couches feel alive with potent conversation and pregnant silences. As the end to the tumultuous weekend approaches, the camera dreads the impending loss as much as the characters.

Haigh is both honest and specific in his portrait of a particular milieu (the gay male culture of Nottingham, England), but Weekend’s appeal transcends orientation. If you’ve ever met someone who changed your life in the space of days, you’ll relate to something in this movie.