Weekend

Weekend-Tom-Cullen-and-Chris-New

Tom Cullen (Russell) and Chris New (Glen) en “Weekend” (Andrew Haigh, 2011)

JEREMY OCELOT |

Glenn y Russell son dos extraños que se conocen en un club/antro, toman juntos, se van a casa, cachondean, despiertan al día siguiente. Empieza entonces Weekend (2011), segundo largometraje de Andrew Haigh, obra que se erige como una de las películas contemporáneas más honestas y reales, no sólo sobre el amor, sino sobre el tipo de relaciones, miedos, dudas y ambiciones de la juventud contemporánea.

Todo comienza cuando Russell, un veinteañero apuesto, reservado, introvertido decide hacer una parada en un antro gay de regreso a casa, después de asistir a la reunión de unos amigos. Ahí conoce a Glenn, un hombre que bien podría representar su opuesto absoluto: asertivo, desfachatado, quizá un poco agresivo en su trato y demasiado convencido de la poca aceptación de la homosexualidad por parte del mundo heterosexual. Para Russell es atracción a primera vista, para Glenn no lo es tanto; finalmente, terminan encamados.

Lo que se supone debió ser algo de una noche se convierte en algo más, la atracción es palpable e innegable entre ambos, quizá un poco a pesar de Glenn. El intercambio de teléfonos lleva al inevitable y muy rápido reencuentro. A partir de entonces comparten dos días marcados por el albor de la despedida: Glenn partirá en 48 horas hacia Estados Unidos donde estudiará arte los próximos dos años.

Lejos de las comparaciones que puedan resultar con filmes como Antes del Amanecer (Richard Linklater, 1995), el filme revela inquietudes propias de las personas de nuestra edad. Se aborda a los amigos como informantes secundarios, como complemento en la construcción de la identidad del sujeto y el contexto cosmopolita/urbano como propiciador de este tipo de relaciones express. Y como pasara en Antes del Amanecer, la conversación se tiene por constructor de identidad: ideas van y vienen en un diálogo donde ninguno de los dos se quiere ver encerrado pero que ambos disfrutan al descubrir al otro.

El tono que maneja Haigh (director) es bastante sobrio. La puesta en escena se basa en cámara en mano y cámara fija, no existe movimiento complicado como travellings o grúa. A pesar de que el relato se desarrolla por toda la ciudad, la mayoría del tiempo solo vemos a cuadro a nuestros protagonistas, no se trata de retratar la ciudad sino cómo ellos dos interactúan; por eso no es de sorprender que muchas veces la cámara se quede estática por largos momentos mientras la atención se fija en la conversación de los personajes. A veces vemos sus rostros, a veces su cuerpo entero. La apropiación del espacio para ellos, para realzar el aspecto intimista del relato, también se ve reforzada mediante la elección del encuadre donde siempre queda en segundo plano el entorno que los rodea.

El guión evita a toda costa el cliché y escoge retratar de una manera más “real” las vivencias de sus protagonistas. Situaciones como el consumo de drogas o alcohol no se utilizan con estilo maniqueo ni pretenden influenciar la manera en que percibimos a Russell y Glenn, al contrario, se muestran como parte de los mismos, sin invitarnos a juzgar. Conversaciones sobre sexo que podrían resultar perturbadoras para aquellos de mentalidad conservadora no sufren censura, son incluidas como parte de la plática cotidiana de estos dos hombres.

Por otro lado, destaca la ausencia de un soundtrack como tal. La cinta se apoya en los sonidos del día a día, en las conversaciones fuera de cuadro, en las pláticas de amigos que llegamos a escuchar, en los gritos de “maricas” que reciben nuestros personajes por parte de extraños anónimos. Es apreciado el sonido incidental como constructor del contexto, se elige con cuidado previo a temas musicales para crear atmósfera.

Como jóvenes que son, salen sólo para terminar embriagándose y regresar a casa de Russell donde platican, beben, consumen drogas y tienen sexo después de una riña. Son hombres con pasado, hombres que se revelan en la manera en que preparan una taza de café, en la forma en que esquivan un beso, en el calzado que utilizan, en la forma en que tratan de ocultar su nerviosismo bajo el gorro de una sudadera roja. Saben que estas experiencias las han vivido ya y quizá, basados en su experiencia, tratan de ser sutiles o llevar las cosas despacio, a pesar del vertiginoso ritmo que impone la apremiante partida de Glenn.

No se trata entonces del primer amor, es mucho más complejo que eso. Lejos de la teoría hollywoodense sobre el primer (y muchas veces eterno) amor, nos encontramos frente a dos seres que han lidiado de manera distinta con su homosexualidad y, más importante aun, con el amor de pareja.

Ambos viven con heridas preexistentes y deben tenerlas en cuenta, sin ser demasiado bruscos pero tampoco demasiado condescendientes. Conforme avance la película se van revelando secretos que nos revelan sus distintos miedos/aspectos, como la inexplicable pasividad de Russell o los motivos de la célebre frase de Glenn: “I don’t do boyfriends” (“No soy de tener novios”). No se trata de romantizar la imposibilidad de su amor, sean cuales sean las causas; se trata de comprender la imposibilidad del mismo y comprender porque al final resulta de esta manera. Aquí no hay clósets de los cuales salir, pues eso se superó mucho tiempo atrás, solo hay dos hombres que se encuentran en una situación que ninguno de los dos esperaba.

El tema de la aceptación y de la inclusión son dos de los cuestionamientos principales de la película; cómo se aceptan estos hombres como personas, como seres complejos, como homosexuales que son y cómo incluyen su homosexualidad en su vida diaria; cómo buscan la inclusión dentro de un contexto donde la discriminación es todavía una constante, cómo la perciben de manera distinta y cómo reaccionan ante la misma.

Hacia el final de la cinta hace presencia una estación de tren, escenario predilecto de aquellos romances que vale la pena contar, como símbolo perenne de la inevitabilidad y augurio de la despedida. Es precisamente en este lugar donde queda claro el amor que sienten el uno por el otro.

Las escenas finales reafirman la importancia de los espacios, de los lugares dentro del relato de Haigh. Un edificio donde se ubican cientos de departamentos se encuentra con la ventana abierta, la luz prendida y la cabeza de un hombre asomándose por la misma. La inmensidad de la arquitectura, no sólo el refugio físico que provee, sino el anonimato del que provee la misma, como refugio, como recinto sagrado de lo privado, aquello que a primera vista no se ve, aquello que entre la inmensidad de las paredes y ventanas no se distingue. Entre esos muros viven estos personajes, entre sus propios muros que, de vez en vez, dejan derruir para permitir la entrada a extraños. Extraños como aquellos que una noche se conocieron.

| RMM | JO | @JeremyBelmondo |

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