After seeing Andrew Haigh’s Weekend for the first time, my boyfriend and I got into a debate. This is appropriate enough following a film that centers on the lively and sometimes contentious discussions between two young men. Our talk was about whether this brand-new movie—which charts the blossoming romance between two young men as they get to know each other over the course of a few days after a casual hook-up—felt dated. Did its poignantly dramatized questions regarding sexuality remain relevant in this allegedly “post-gay” world? Was it the kind of stridently queer film that could have just as easily been made and released to an appreciative niche audience in 1989, 1994, 2001, or today? Moreover, did that matter, and what does it mean for a gay film to speak to a gay audience in 2011? We finally realized, and mostly agreed, that the issues (if that’s the right word) that Weekend raises around homosexual identification, both externally and internally, remain largely unchanged in the past few decades, regardless of any political strides made. This is because the political is most certainly personal in Weekend, which speaks eloquently to today’s experience with an intimacy that transcends era. Read Michael Koresky’s review of Weekend.