Transphobia and homophobia, both overt and internalized, ripple through the relationship dynamics of Sam H. Freeman and Ng Choon Ping’s feature debut.
back is uncertainty of tone.
The writer-director team clearly means to maintain ambiguity about the intentions of Stewart-Jarrett’s character Jules, masking his end goal in real or feigned romantic intoxication. But that has the unfortunate side-effect of playing like outdated queer miserablism and self-punishment. By the time the tables are somewhat schematically turned, the maudlin feel is hard to shake.
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