An aimless teenager on the outer edges of Brooklyn struggles to escape his bleak home life and navigate questions of self-identity, as he balances his time between his delinquent friends, a potential new girlfriend, and older men he meets online.
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I know this film is so much more but if it was just Harris walking around the beach looking for the T-shirt he lost (and is obviously not wearing it) I'd rate it 5 stars! Love the summer feel and how it looks on analog film, the raw masculinity and the ruin of it, and last the ending that just suggest that it all keeps going on, the same, without a big splash.
Digital. Queer Lisboa. It's clear that it's a film limited by its indecisions, whose best example is the end - everything is going around without evolving. Yet, the original 16mm gives it a granularity that goes well with the bodies and the spaces and, in that sense , brings to memory one of the films that in recent cinema better knew how to contextualize bodies and spaces by a camera's look: Ira Sach's "The Delta".
For those who found Call Me By Your Name's vision of youthful desire at full flower among the palazzos of rural Italy a touch whimsical, Hittman is here to remind us how being gay looks when you aren't affluent, well educated or liberal. Dickinson is a captivating (and beautiful) screen presence that elevates what's largely a tame, overly-familiar endeavor. A fully-realized, if modest, effort.
I have a lot of patience for this set of cliches, achingly choreographed and anchored by the lead's performance. It got me thinking about autonomy and heteronomy: how much is this boy responsible for his actions, under the stress of grief, repression, and malignant friendships? You want neither to absolve him, nor blame him. Written in his face is the impossibility of measuring the responsibility of another.
I loved her first film. Thought this film in certain aspects were beyond her scope. Everything external about the area represented felt spot on but the internal life of closeted Gay life to me didn't go past a 1st level Heterosexual gaze entry.
Besides shooting on 16mm, I can't say I love anything about this film. Hittman seems content to let the subject matter do most the speaking for her rather than adding anything cinematically. It's a cold, shallow movie that checks off a bunch of boxes in today's progressive ideology (a female director, queer subject matter, toxic masculinity, victim) so I guess it gets a pass. There's nothing here you haven't seen.
Everything that's been written the film's exploration of toxic masculinity and its strong performances are accurate but can we discuss how Louvart made Hittman's sex scenes look as if they were Bill Henson photographs?