To the weekend in our hearts

Kaitlyn 2022-01-14 08:02:30

Director and screenwriter Andrew Hager seems to prefer the combination of buses and nightclubs. A similar segment will be shown again in the later gay sacred drama "Looking": in the wet streets, comrades in twos and threes shuttle In the street under the neon lights of the gay bar, against this background, the protagonist writhes in his heart while searching for the lost image of himself.

I almost had "empathy" or "resonance" with the protagonist Russell for the first time, starting from when he took out the new-looking shoes in the shoebox that still had the wrapping paper. Afterwards, Russell went to a gathering of friends and left early. Although he claimed that he was tired, this was actually just setting aside enough time for future "arrangements." Why does it resonate? Because this scene seems to be very familiar, wearing the latest shoes, putting on my favorite shirt, and washing it cleanly. I don’t know if anyone like me will understand what it means to go to a gay bar for a type of gay. It’s like the only channel in the world to feel the same kind in real life, enjoy others’ gaze on you, drink a lot of alcohol, and let the alcohol and roaring music temporarily take the usually-bound you away from your body, leaving nothing but The soul that doesn't mind or suppress.

The film uses the most pen and ink to portray a homosexual image who has lost oneself. This is a kind of reticent, small-scale, easy-to-get-together, sexually depressed homosexuals. They are a group of people who think too much for others because they are worried about not being liked. People, accurately portraying this group of people is the best part of this film. This point has been used countless pens and inks in the film, but there are two places where it is most vividly expressed. The first time was in the early morning when Russell took Glenn home for the first time. He woke up early and not only made coffee, but also made breakfast. I have a toothbrush. When facing the person he likes, he compulsively needs to show himself perfectly in front of him; the second time is the dawn when Glenn is about to leave. Russell said that he likes to stay at home and feels very free at home. Because he doesn't need to care or think at home, he doesn't feel embarrassed or ashamed.

I was also impressed by the farewell scene at the station. Seven or eight years ago, when I was still able to talk about a few long-distance relationships, there were also several scenes like this. The melted individual was full of tears that could not be suppressed at all. Is Glenn Russell's real son? I think it’s hard to tell. From their brief weekend exchanges for a few days, you can even see that the two of them still have a lot of differences in the world view, but when people encounter an object with ideal temperament, the connection is lost. The pain of hollowing is always unavoidable.

I have never understood why the film has to give us such an ending, but when I was writing this article, I gradually realized that: Glenn represents most of the people we meet in our lives, no matter how perfect they are, we How much I love them, these people have become our life passers-by after all. Because we don't love ourselves and only love them, and the end of this journey may need to start from loving ourselves.

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Extended Reading
  • Damon 2022-03-29 09:01:07

    Real is uncomfortable.

  • Natalia 2022-03-27 09:01:16

    Russell and Glen, a Separation.

Weekend quotes

  • Glen: It's like when you've had the same friends for too long, they become like - Everything becomes cemented.

    Russell: What? And that's a bad thing, is it?

    Glen: Of course, it's a bad thing. I don't want to be in fucking concrete, thank you very much.

    Glen: It's like they won't let you, they won't let you be any version of yourself except an old version, or the version that they want you to be.

  • Glen: Look. Straight people like us as long as we conform, we behave by their little rules. Imagine your friends if you suddenly started getting all, but really, political about being a fag, or you got suddenly, like, camp and swishy or talked about rimming all the time.

    Russell: [interrupting] But that's not what I'm like, is it? That's not who I am.

    Glen: Well, just trust me: They like it as long as we don't shove it down their throats.

    Russell: Okay, well, why should I just shove it down their throats?

    Glen: Because they shove it down our throats all the time: Being straight. Straight story lines on television, everywhere - in books, on billboards, magazines, everywhere. But, ah, the gays, the gays -

    [gasps]

    Glen: "We mustn't upset the straights. Shh. Watch out. Straights are coming.

    [lisping]

    Glen: Let's not upset them. Let's hide in our little ghettoes. Let's not hold hands. Let's not kiss in the street, no."