The reason for this week’s themed focus on American films directed by women is because the director of today’s film has a new one out on streaming in the UK at the end of the week, the abortion-themed drama Never Rarely Sometimes Always. This wasn’t her debut film, but it feels like some kind of breakthrough and got a fair bit of attention on the festival circuit. It’s a bleak gay story, as so many are, but with an artfulness helped by the cinematography of the great Hélène Louvart (who has shot Alice Rohrwacher’s films amongst others).
If I can be said to have a ‘type’ when it comes to movies, it’s probably the artfully distressed hazy focus-pulling indie intensity of this over the sun-dappled baroqueness of, say, Call Me by Your Name (the film I went to see just before this one) — but it’s not really fair to compare them, just because they both happen to have gay themes. In fact, this film seems to be more a film about everyone’s favourite post-millennial theme: toxic masculinity. It’s about a group of bros with short cropped hair and very well-defined abdominal musculature who aimlessly sit around and smoke weed. Our protagonist Frankie (Harris Dickinson) is dealing with some family drama, but seems to be sort of coasting, interested in men but also very much hiding it from those around him, performatively dressing himself up in hyper-masculine aggression and Instagrammable heteronormativity. I’m sort of over these kinds of stories (gay coming-of-age narratives) leading to bleak places, but in this kind of place, with these kinds of men, it all feels depressingly pre-ordained. Still, it grabs me as a real piece of filmmaking.
Director/Writer Eliza Hittman; Cinematographer Hélène Louvart; Starring Harris Dickinson, Madeline Weinstein, Kate Hodge; Length 98 minutes.
Seen at ICA, London, Friday 24 November 2017.