I like the way the film is constructed through detailed chapters, which are not always full of incident or action. This gives the audience a sense of responsibility and empowerment to fill in the gaps. The film avoids cliche and is matter of fact, telling the story in an honest and unaffected way. I'm glad this kind of film is being made and gets exposure. Hollywood would have miscued this dreadfully.
I was intrigued by parts of this movie, but extremely bored with other parts. I found the character of Paul to be frustratingly vague; he seemed like more of an idea than a fully fleshed-out person and I couldn't figure out why Erik stayed with him. Maybe that's the point.
Loosely based on Sachs's relationship with literary agent Bill Clegg. Like their relationship, the first half of the film shows a lot of promise then fritters itself away. The only things to recommend it are Lindhart's performance and its tone: "The film has a late ’60s/early ’70s feel ... nestle[d] onto a soft bed of sad, minor-key music." (Alonso Duralde, The Wrap). Glad these people aren't in my life.
Forgettable - which is a shame because the first 45 minutes were graceful and intriguing. Ira Sachs has demonstrated his sophistication in directing drama without resorting to tropes and stereotypes, but that's all there is to gain from this film. There is no vision, no substance. It is empty.
I believe that "Keep the Lights On" is one of those films that is slated to stay with its viewers for a while after seeing it, not only because of the intense and enticing relationship between Erik and Paul but because of the truths that lie within their rocky travels together. I love stories that start out on good footing, turn ugly, get really bad, and somehow get better again. This is worth watching a few times.
Yet another critically-acclaimed contemporary gay film that, to me, was a flop. The characters were one-dimensional yawns: sad puppy-love filmmaker addicted to a whishy-washy drug addict. I kept expecting them to merge into one handsome blonde-haired blob of vanilla flesh and be done with it. And then there was the overuse of dreamy indie music to make up for its lack of emotional resonance. Grumble grumble.
the fact that this wasn't displayed as a gay stereotypical film should be plenty of reason to watch it but more to go more in depth, i enjoyed the raw emotion captured by the two main characters. the rise and fall of relationship as well as the in-between was done really well and i wasn't expecting to be as impressed as i was.
Two things about this: Erik and the opening credits. Sadly, only its first half really works. After that, it gets annoyingly unrealistic and painfully pointless. 9 years going to nowhere? Not an ultimatum here but it feels like in real life they could not exceed 3. And worse: they both looked exactly the same after almost an entire decade (and I'm not talking about the same haircuts all over the years).
The gay version of Blue Valentine. Boring, pathetic, pretentious. No real chemistry between the couple. Even though the story line was very close to my heart it still failed to touch me. And did it bother me they had the exact same haircuts for ten years? yes. Two stars, only for Erik.