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 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.
Hittman y otra historia sobre la identidad sexual desde un contexto/situación desalentadora. Lo cierto es que "Beach Rats" tiene una trama más alentadora que su anterior película, a pesar de los convencionalismos propios del tópico sobre la homosexualidad: musculaturas, una estampa de Sebastiane, las drogas como escape. No habrá happy ending, pero sí un rastro de aprendizaje y reivindicación para su protagonista.
The relevant theme of the coming-out by the character of Harris Dickinson recoil for an amount of moments that seem to reveal some indecision or confusion on the part of the director Eliza Hittman. It's still a good 35mm film, with artistically nice plans of body image and the erotic side of Frankie naive double life.
The usual suspect: toxic masculinity and closeted teenager with predictable fatalistic approach. Actually it's quite okay as character study. But it's also a little cold and the set-up isn't quite proper for make a better climax. Or simply different than the others.
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.
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".
In regards to Eliza Hittman, I feel this succeeds in many areas that "It Felt Like Love" fell flat. While it still has some the focus and plot issues of her earlier work, it's nonetheless a deeper and more thoughtful work with a more thoroughly-examined protagonist. Her non-judgmental approach is also better suited here, making the audience ponder issues of self-identity and our need for social acceptance.
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.