‘The Weekend’ Is a Smart, Relatable Romantic Comedy

The Weekend film poster. 

Although most romantic comedies contain a grossly exaggerated raunchiness that borders on unrealistic caricature, especially rated R films, The Weekend is well above the average. It has the rarity of putting Zadie, a Black woman in a leading role while also placing her at the forefront of desire— the attention of two men. What is not to love?

Zadie is a sarcastic, wise-cracking comedian. Her standup material mixes situational humor and making light of mental health struggle. She wears basic t-shirts (black, white, yellow) and high waisted blue jeans, even wearing the same outfit twice. In fact, she does not change those blue jeans.

In the premise, Zadie is spending the weekend at her parents’ rustic bed and breakfast with her ex-boyfriend Bradford and his girlfriend Margo. Now Bradford and Zadie are extremely close exes. Their intimacy is stronger than friendship, unlike a sibling vibe. Margo— who puts on a brave face— certainly feels the rift. The odd dynamic becomes overwhelmingly complicated due to Zadie’s increased meanness towards Margo. Aubrey, the handsome unattached guest, immerses himself into the triad, drawn specifically to Zadie. This incites Bradford’s own green-eyed monster. Beneath his kind and warranted protectiveness lies that need for Zadie. As days steeped in nature slowly press onward, that need cannot stay quiet. Even Zadie’s judgmental mother, Karen, sees it.

Bradford (Tone Bell) enjoys being in the middle of Margo (DeWanda Wise) and Zadie (Sasheer Zamata) until Aubrey (Y’lan Noel) enters the picture with eyes on Zadie.

On occasion, the four young people at the apex of this trip experience third wheel shifts: Zadie’s discomfort with Bradford and Margo, Bradford’s insecurity with Zadie and Aubrey, and Margo’s invisibility with Bradford. Throughout this interplay, Zadie is trying to keep a firm head as her anxiety wavers. She continues acting out, hiding secrets, secrets within herself. Aubrey, fresh from a breakup, is intrigued by Zadie and does not allow her to push him away.

Black girls ruling nature: Zadie and Margo try to have a civil conversation. 

Zadie’s most reliable male relationship seems to be with her father— who is absent during this mini vacation. He “appears” on the phone with her, though the audience never hears his voice. The busiest shirt that Zadie happens to wear is a patterned pink shirt taken from her father’s closet— while bike riding with her two love interests. Still, it is not too difficult for Zadie to embrace being brutally honest. Aubrey brings out another side of her, that awkward girl who often feels like a “supporting character and not the leading lady.” Even though Bradford knows Zadie’s every fault, he broke up with her because the dueling personalities were too heavy a burden. It is understandable, a partner with mental illness can be challenging exercise. However, cultured, sophisticated Margo— the “normal” woman— is not convincing him to commit enough. The well-traveled, articulate, fashionably conscious Margo has the flawless paper performance. Yet Bradford and Margo have not been intimate in months. Bradford sneaks off every chance to see Zadie, warning her against Aubrey, threatened by their obvious connection.

One of the most hilarious scenes in the film are Zadie, Aubrey, and Bradford biking together. 

Writer/director Stella Meghie helmed a brilliantly entertaining piece. The story arouses questions on the longevity of relationships, of finding balance and setting boundaries. There are Black comedians, Black photographers, Black business owners, scenes lit beautifully, capturing brown skin in all its glorious range. Plus, a deep complexioned, 4C haired Black woman leads a phenomenal cast operating smoothly together. Sasheer Zamata has an utterly riveting screen presence as Zadie, able to transition between deadpan humor and an authentic vulnerability with degrees of heartfelt seriousness resonating deeply. Her star should rise further in multifaceted roles, letting that natural candor shine through. The promising Tone Bell (Little), the exceptional DeWanda Wise (The Underground, Shots Fired, and She’s Gotta Have It), leading man material Y’lan Noel (Insecure’s heartthrob Daniel and funnily enough playing a younger version of Issa Rae’s character’s father in Meghie’s other film, The Photograph). Kym Whitley’s Karen provided a sweet, delightful surprise, a humbling performance that too allowed another real-life comedian to show impressive layers of humility and strength.

Tone Bell (Bradford), DeWanda Wise (Margo), Sasheer Zamata (Zadie), Kym Whitley (Karen), and Y’lan Noel (Aubrey) make up The Weekend cast. 

The Weekend is a refreshing look at the ways of discovering the constant things in life that heal us and the others that are quite toxic. Zadie learns in three days what will help her grow and what holds her back.

Zadie in darker jeans, an optimistic shirt, and a new hairstyle.

In the end, Zadie’s bright yellow t-shirt matching a great big smile assures viewers she made the healthiest choice for herself.

Chaste Girlfriends Rule in 'virgins! the series'

Four virgins and one scandalous box. Photo credit: Kelly Fyffe-Marshall, director and Alysha Galbreath, director of photography.

virgins! the series, a unique YouTube debut, stars four Afro-Canadian actresses portraying sexually inactive young professionals. This contemporary concept brings a liberating perspective to birds of a feather flock together.

Sara (Kadhija Ali)-- thanks to a forgetful fiance-- has to take the subway. High maintenance lawyer lady don't got time for that. After a little prayer, she steps down the public transportation stairs regardless. Photo credit: Kelly Fyffe-Marshall, director and Alysha Galbreath, director of photography.

Delina (Genet Berhe) missed the lesson on Flirtation 101. Her neighbor likes eating out. Instead of taking the spelled out hint, Delina suggests that he eats out with his friends! Photo credit: Kelly Fyffe-Marshall, director and Alysha Galbreath, director of photography.

East African descendants residing in Toronto: Sudanese Sara, Eritrean Delina, Somalian Amina, and Ethiopian Abyssinia (nicknamed Aby) have distinctive individual styles and personal career motivations. They get along great-- despite Delina seeming to have compiled a laundry list of repayments, Aby's burnt pot included. Maybe that's why she doesn't have a key to Aby's apartment, eh?

Amina (Sarah Bashir) didn't get the grant for her arts proposal-- heartbreaking and personally relatable--but she will keep pressing forward by sheer strength of determination and commitment. Plus, a solid circle behind her. Photo credit: Kelly Fyffe-Marshall, director and Alysha Galbreath, director of photography.

Aby (Rebecca Amare) has a surprise waiting at home. Her array of shocked expressions whilst staring at her boss's email executed panic and fear quite accurately. Photo credit: Kelly Fyffe-Marshall, director and Alysha Galbreath, director of photography.

The five minute first episode and four accompanying character vignettes highlight a refreshing perspective, something that can be attested to in terms of patiently looking for Mister or Miss Right, waiting for marriage, asexuality (which some strongly feel is unnatural but this lifestyle exists), and everything existing between personal bias against sexual intercourse. It is especially noted for portraying brown women pursuing other interests, other loves as a precursor to emotional and physical intimacy.

Over orange juices (some virgin, some not), the girls are suddenly interested in Aby's package-- a Pandora's box mystery that will surely be seen in the next episode.  Photo credit: Kelly Fyffe-Marshall, director and Alysha Galbreath, director of photography.

In this thoughtfully concise interview with This Worldtown, virgin! the series creator Aden Abebe (partially inspired by Issa Rae's fantastic web series Awkward Black Girl) says this about the perceptions of virginity:

In Toronto, and the Western world at large, when you come out (as a virgin) to folks who are not of your community, they try to put you in a box of what it means to be a virgin. They assume you must be “really religious,” or, that it comes from some issue, be-it trust or intimacy issues. That’s really annoying and I think that’s a reason why a lot of virgins stay quiet about it. At least from what I understand, growing up in the Ethiopian community with my peers, from neighbouring communities; Somalis, Sudanese and Eritrean; virginity is not something that’s shameful or embarrassing, it just is. It’s only embarrassing in the context of the broader North America and European life.

Aden Abebe photographed by Leila Dhore Photography.

In episode one's "The Box," Aby rushes home to retrieve an incriminating package, knowing that her friends are waiting. As they're passing time, Amina spikes the orange juice, Sara wants takeout, and Delina can't cook. Delina signs for the package and is about to open. Aby arrives and tries to play it off casual. No one falls for her act though.

It is short. Its shortness, however, hypes up the anticipation for what happens next. In the minutes revealed, virgins! the series is funny, witty, and therapeutic. These different women from diverse upbringings (religions, education, etc) have come together as friends, interact with an obvious trust and bond between them that feels natural. Their shared virgin status is just icing on the cake. When Sara asks Aby, "do you want me to contact HR?" That opens up this whole gray area pertaining to sex-- how much does anyone need to know about personal life in the workplace and beyond? At the same time, why the shame? You feel bad for Aby. On one hand, the account is a huge investment, possibly beneficial to her future. Yet, she has stern beliefs that also should be considered.

In the meantime, looking forward to learning more about Delina, Amina, Sara, and Aby. With this gorgeous cast and a team of mostly women behind-the-scenes, the potential is simmering beautifully.

virgins! the series has an IndieGoGo (please, please support this much needed vision). The episodes are written by Aden Abebe, Fatuma Adar, and Baakal Getela, directed by Kelly Fyffe-Marshall, and director of photography by Alysha Galbreath.