Le Week-End


(out of 5)

 and  are an aging couple running off to Paris to celebrate their anniversary.  They’re disappointed in their choice of run-down hotel, so they immediately decamp and head to a luxury suite in a fashionable neighbourhood (expensive be damned), before spending the afternoon veering between vicious frustration over the failed aspects of their marriage (ambivalent desires for each other sexually, their son whom they still have to provide much support for) and indulging in the delightful camaraderie of their winsome personalities (including a shared pleasure for dining and ditching) that develops over the decades that a couple spends together.  When they run into Broadbent’s old friend  and are invited to his home for dinner the next night, the accurately calibrated, small moments of friction and insecurity are pushed over the edge and result in a catharsis for both.  Despite the fact that the climax takes the form of a public confession and risks veering into Richard Curtis territory, this intelligent, subtle film directed by Roger Michell displays all the pleasures we often get from Hanif Kureishi’s writing, a view into the lives of those usually marginalized by the cinema, and his tendency to upend expectations of narrative and character in gleefully rebellious but not irresponsible ways.  Duncan and Broadbent are superb in bringing out the tender nuances of the experience, underplaying their most turgid scenes so well that the attempt to put forth the feeling of a saturating short story on a movie screen pays off in spades.

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United Kingdom/France, 2013

Directed by 

Screenplay by 

Cinematography by 

Produced by

Music by

Production Design by

Costume Design by

Film Editing by

Film Festivals:  TIFF 2013

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European Film Award Nomination
Best European Comedy