Close

Available on Mubi on April 21st

Lukas Dhont’s sophomore directorial feature is a powerful coming-of-age drama that examines the complex depths of childhood friendships through the lenses of both closeted sexuality and toxic masculinity, societal tropes that are familiar enough to make Close feel like a deeply personal experience for many viewers.

Dhont’s screenplay, which he co-wrote with frequent collaborator Angelo Tijssens, focuses on the relationship between Léo (Eden Dambrine) and Rémi (Gustav De Waele), and how it gradually comes apart at the seams as both boys navigate the difficult transition to middle school. While the former reluctantly embraces heteronormative conventions, the latter becomes more isolated and withdrawn, eventually leading to a devastating turn of events at the film’s mid-way point.

Both of the film’s lead actors (though in particular Dambrine) defy their previous status as amateurs and deliver performances that are impeccably restrained, despite the complexity of their character’s respective arcs. Meanwhile, Dhont’s direction, aided in no small part by Frank van den Eeden’s vivid cinematography and Valentin Hadjadj’s contemplative score, ensures that Close also makes for a memorably sensory experience.

However, there are moments – particularly in the film’s final act – where the film’s aesthetic seems to take precedence over its story, with sweeping pastoral shots becoming so commonplace that they begin to feel as critical to events as the narrative itself. When a film is as gorgeous as Close is then that’s not necessarily a bad thing, but it does slightly stunt what is otherwise a formidable and empathic picture.