If there’s a modern filmmaker who makes my heart swell and ache in equal measure, it’s Andrew Haigh. This British maestro has crafted a body of work that dives into the depths of LGBTQ+ experiences with a raw, unflinching honesty that is as rare as it is refreshing. His films and TV shows are not merely stories; they are lived-in, breathed-in worlds that lay bare the human condition in all its messy, glorious complexity
In “Weekend,” Haigh invites us into the intimate bubble of Russell and Glen, played by Tom Cullen and Chris New. Over the span of a weekend, these two men share moments of vulnerability that feel startlingly genuine. Made on a shoestring budget of $120,000, this film punches well above its financial weight, grossing around $1.1 million worldwide and scooping up awards like the Audience Award at SXSW.
Haigh’s desire for authenticity shines through in every frame. “I wanted it to feel real, like a genuine conversation, not something overly polished,” he said. And he succeeded. The film sits pretty with a 95% approval rating on Rotten Tomatoes and a score of 81 on Metacritic. A.O. Scott of The New York Times lauded it as “a bracing, present-tense exploration of sex and intimacy,” while Peter Bradshaw of The Guardian called it “a sincere, delicate, intense, and powerful love story.”
Then came “Looking,” Haigh’s HBO series that zeroes in on the lives of three gay friends in San Francisco. Jonathan Groff, Frankie J. Alvarez, and Murray Bartlett bring to life the everyday trials and triumphs of Patrick, Agustín, and Dom. The series ran for two seasons, plus a finale special, offering viewers 18 episodes of unvarnished, unassuming depiction of gay life.
Haigh’s goal was clear: “We wanted to show gay men as they are, not as a stereotype or a caricature, but as real, complex individuals.” And the critics agreed. The show holds an 89% approval rating for Season 1 and a whopping 93% for Season 2 on Rotten Tomatoes. Brian Lowry of Variety praised it as “a refreshingly low-key, unassuming depiction of gay life.” At the same time, Spencer Kornhaber of The Atlantic called it “one of the most honest and relatable portrayals of modern gay life on television.”
Fast forward to 2023, and Haigh gifts us “All of Us Strangers,” a film that feels like it’s dipped in the essence of nostalgia and loss. Starring the impeccable Andrew Scott and the ever-rising Paul Mescal, the story follows Adam, a lonely gay writer who encounters his deceased parents as young adults while falling for his neighbor, Harry.
Haigh’s touch is evident in the personal nature of this tale. “A generation of queer people are grieving for the childhood they never had,” he reflected. The film’s reception has been nothing short of stellar, with a 96% approval rating on Rotten Tomatoes and a score of 90 on Metacritic. The Guardian hailed it as “a devastating film… hoovering up awards and leaving audiences in pieces,” and Variety called it “a haunting and achingly tender exploration of love, loss, and the ghosts that shape us.”
Haigh’s body of work stands as a testament to his unparalleled talent for capturing the quiet, tender moments that define relationships. IndieWire rightly points out his knack for “capturing the quiet, tender moments that define relationships.” The Advocate praises his films and shows for providing “a much-needed representation of gay life, characterized by honesty and intimacy,” while Out Magazine dubs his works “a beacon of authenticity in LGBTQ+ cinema.”
Haigh’s magic lies in his ability to make us feel seen, understood, and less alone. His stories are not just about gay life; they are about life itself, with all its love, loss, and lingering ghosts. He strips away the veneer of cinematic gloss to reveal something far more beautiful and true: the unvarnished human heart.