LGBT+ romances are literally never simple. Ever. I wish they were (because then my review could be a lot shorter) but alas - they seldom are.
Therefore, "In From The Side" does an extraordinarily great job of conveying the unintentional complexity of our constantly flourishing relationships, conscientiously telling a tragically doomed love story between two insufferably privileged, "straight acting" white gays (who in theory, we as audiences should not be able to relate to - the blatant embodiments of "masc4masc; no fats, no femmes" - reeking of toxic masculinity, entitlement, wealth & 1st world problems with their superficially conventional attractiveness) but what's particularly striking about this film is it's actually mindful enough to acknowledge the obvious flaws of these characters & maturely portrays them as they are, warts & all - without shying away from the ugliness festering within - daring to question what's formed them in to the people they've eventually become, analysing if there's a plausible way to remedy the concerning situation / the traits they've unknowingly inherited. Ergo, although Matt Carter focuses primarily on one small ensemble of rugby players, the wider commentaries he makes (about the way in which we live our lives) could be interpreted more widely, about the general human condition.
Hence, rather than asking us (the viewers) to excuse the plethora of imperfections we're presented with, the authenticity of this story is rooted deeply in the fact that it mindfully depicts two men who essentially fall head over heels for each other, in spite of those brazen obstacles in their way (insurmountable in nature) & the flaws they see immediately staring back at them... Which makes it that much more believable - due to the messiness of everything - (as love rarely - if ever - adheres to objective logic, tending to culminate in destruction) & the brokenness we see in them, as well as ourselves.
Yes, that's cynical of me to admit - yet that tangible aforementioned aura of cynicism is also precisely what this narrative has evidently grown from; a reflection of pain & distrust, learned over shared negative experiences - from writer/s who've manifestly tried to see the light, shining against such unrelenting darkness they've personally encountered in the past.
Plus, I don't think I've seen a film (recently) so accurately capture the crushing loneliness of being homosexual, even when surrounded by others of the same sexual orientation; the harmful homophobia (& self hatred) that's indoctrinated in to us as minors is so intrinsic & oppressive (polluting our minds like poison), even through adulthood, the sense of detachment created from that lingering trauma persists & stymies our ability to form healthy relationships & theoretically (as a consequence), the systematic discrimination within society has impacts on us, individually - thematically reinforcing the point it's trying to make; strengthening the need for a supportive community (formed from those who understand & can offer a home to people who need refuge) - more valuable than any contribution one man is capable of making, single handedly.
Yes, it's grim (I'd even go so far as to describe the movie as truly "despondent" - mournfully portraying our desperate yearning for a meaningful connection whilst showing how we usually lack the ability to create one that lasts - a futile, fruitless endeavour pursued with unquenchable hopefulness) & extremely morally ambiguous - however, the conflict naturally develops from those moments of arguable murkiness, using the uncertainty to have quite frank & open conversations (gorgeously crafted, might I add) - so although emotional investment may have been lacking (admittedly, nothing detracts from the ensemble's vacuousness), the profundity of its messaging is still not lost amidst the chaos & resultantly, I commend them for truthfully imbuing a feeling of heartfelt sentimentality, skilfully balanced against the brutality of honest realism in representation.
Furthermore, considering the project was brought to the big screen on an exceedingly low budget (written, scored, directed, costumes designed, casted, co-produced, shot - as cinematographer - & edited etc. By the same guy to save money, heavily recreating music from other productions such as "TRON: Legacy" - for example - to mimic the effect of a soundtrack without having to finance an original one), the artistic ambition of this alone is enough to appreciate, acknowledging the limiting restrictions he must've been forced to work with at the time of its inception.
Therefore, "In From The Side" does an extraordinarily great job of conveying the unintentional complexity of our constantly flourishing relationships, conscientiously telling a tragically doomed love story between two insufferably privileged, "straight acting" white gays (who in theory, we as audiences should not be able to relate to - the blatant embodiments of "masc4masc; no fats, no femmes" - reeking of toxic masculinity, entitlement, wealth & 1st world problems with their superficially conventional attractiveness) but what's particularly striking about this film is it's actually mindful enough to acknowledge the obvious flaws of these characters & maturely portrays them as they are, warts & all - without shying away from the ugliness festering within - daring to question what's formed them in to the people they've eventually become, analysing if there's a plausible way to remedy the concerning situation / the traits they've unknowingly inherited. Ergo, although Matt Carter focuses primarily on one small ensemble of rugby players, the wider commentaries he makes (about the way in which we live our lives) could be interpreted more widely, about the general human condition.
Hence, rather than asking us (the viewers) to excuse the plethora of imperfections we're presented with, the authenticity of this story is rooted deeply in the fact that it mindfully depicts two men who essentially fall head over heels for each other, in spite of those brazen obstacles in their way (insurmountable in nature) & the flaws they see immediately staring back at them... Which makes it that much more believable - due to the messiness of everything - (as love rarely - if ever - adheres to objective logic, tending to culminate in destruction) & the brokenness we see in them, as well as ourselves.
Yes, that's cynical of me to admit - yet that tangible aforementioned aura of cynicism is also precisely what this narrative has evidently grown from; a reflection of pain & distrust, learned over shared negative experiences - from writer/s who've manifestly tried to see the light, shining against such unrelenting darkness they've personally encountered in the past.
Plus, I don't think I've seen a film (recently) so accurately capture the crushing loneliness of being homosexual, even when surrounded by others of the same sexual orientation; the harmful homophobia (& self hatred) that's indoctrinated in to us as minors is so intrinsic & oppressive (polluting our minds like poison), even through adulthood, the sense of detachment created from that lingering trauma persists & stymies our ability to form healthy relationships & theoretically (as a consequence), the systematic discrimination within society has impacts on us, individually - thematically reinforcing the point it's trying to make; strengthening the need for a supportive community (formed from those who understand & can offer a home to people who need refuge) - more valuable than any contribution one man is capable of making, single handedly.
Yes, it's grim (I'd even go so far as to describe the movie as truly "despondent" - mournfully portraying our desperate yearning for a meaningful connection whilst showing how we usually lack the ability to create one that lasts - a futile, fruitless endeavour pursued with unquenchable hopefulness) & extremely morally ambiguous - however, the conflict naturally develops from those moments of arguable murkiness, using the uncertainty to have quite frank & open conversations (gorgeously crafted, might I add) - so although emotional investment may have been lacking (admittedly, nothing detracts from the ensemble's vacuousness), the profundity of its messaging is still not lost amidst the chaos & resultantly, I commend them for truthfully imbuing a feeling of heartfelt sentimentality, skilfully balanced against the brutality of honest realism in representation.
Furthermore, considering the project was brought to the big screen on an exceedingly low budget (written, scored, directed, costumes designed, casted, co-produced, shot - as cinematographer - & edited etc. By the same guy to save money, heavily recreating music from other productions such as "TRON: Legacy" - for example - to mimic the effect of a soundtrack without having to finance an original one), the artistic ambition of this alone is enough to appreciate, acknowledging the limiting restrictions he must've been forced to work with at the time of its inception.