Close to You

Wow, talk about lookin' shredded like a Julienne Salad! Elliot Page has been puttin' in some work. Okay, so the movie isn't the greatest, but it certainly deserves a much higher rating than a 4.6. It's an independent film with some good performances with lots of improvised dialogue-and has won a few well deserved awards. On Rotten Tomatoes, 65% of 55 critics' reviews are positive, with an average rating of 6.1/10 where it should be. The website's consensus reads: "A passion project for Elliot Page that benefits from his naturalism." So, what's with all the low ratings? Give it a shot, it gets better as it progresses.

I'd heard some wonderful things about this film from those around me, and at my local art theater. Knowing this was a personal story for Elliot Page, I went in otherwise blind, wanting to see the results for better or worse-- and in spite of the post-festival IMDb rating (4.4/10 as of Sept. 2024).

The film is clearly a personal one, from the opening scene. The low budget is on display, but this is entirely a compliment: character actors you might recognize from other things are made to feel like real people, in a real family, in a real house. Visually, not a lot happens. There are no fistfights, there are no fancy camera tricks. The camera instead focused on the emotions of the characters, focusing on faces, and sometimes just the eyes. If you let yourself feel what the characters are feeling, the film is as rewarding as it is eye-opening.

It can be uncomfortable. It can be confusing. It can be confrontational-- but ultimately this is simply Sam's (Page) story, from his perspective. His own emotional journey, not just over the course of the film, but how every day, Sam is just a person, living his life. It was indeed uncomfortable to experience some of the things that might be normal every day occurrences for Sam, but seeing things from someone else's perspective is why we go to the movies. I'm glad that Page and director Dominic Savage (who absolutely has a bona fide resume) got to tell this story, and I'm glad I was there to watch them both tell it. Not all of the characters are sure what to do with Sam, and some try harder than others, but no one ever feels entirely where they should be. It is a movie of the moment, and captures-- what I can only assume-- the current moment perfectly. 8/10, watch it with someone you care about.

This piece is such an important milestone for the trans community. Those who claim the plot has left something to be desired have a fundamental misunderstanding of the point: the lived experience of a trans person. Anyone who has transitioned (or has wanted to and decided not to) will understand what this film was truly about. It will hit home in a way no other media can. We are all different, but our shared experiences bond us all together. The pain of a family who doesn't understand, who lay their own struggles with your identity at your feet and expect you to comfort them. The longing to be seen as who you really are, and the unprecedented joy you experience when someone you love finally does. The knife in your gut when you get misgendered. The strange sensation of being back in a place that has only ever known the old "you".

I can understand how someone who hasn't lived this would not be able to pick up on the emotional nuance. However, it's disappointing to see how low this rating is because too many people who can't comprehend it have weighed in. This feels like a classic turn of events in the trans (and queer) community. So grateful to Elliot and the team who made this.

I really wanted to like Close to You, especially given the talent involved, including Elliot Page, but unfortunately, the film left me feeling underwhelmed. While it has some strong individual elements, they never quite come together to form a compelling, cohesive narrative.

The cinematography is beautiful, and the camera work captures the intimate moments well. The music also stands out-calming, evocative, and a perfect complement to the film's quieter, introspective moments. It's clear the filmmakers put a lot of effort into the aesthetics and atmosphere, and I appreciated that.

As for the performances, Elliot Page delivers a solid portrayal of their character, and many of the actors did their best with the material. The characters themselves are generally likable, but I never felt fully invested in their arcs. The writing, unfortunately, feels lackluster. The dialogue doesn't engage the audience or create the emotional depth needed to elevate the story. It's not that the film is overly slow, but it lacks a strong narrative drive. I can appreciate a slower-paced movie, but the plot here is sparse, and the film doesn't provide enough stakes or development to keep things interesting.

The movie revolves around the protagonist returning home, reconnecting with family, and re-engaging with an old girlfriend. But the family dynamic-while realistic-feels disjointed and drawn-out. For a good portion of the film, we watch the protagonist's family argue and struggle with unresolved issues, and I couldn't help but feel that these sequences dragged on unnecessarily. The family drama is there for a reason, but I found myself wishing the film had focused more on the central relationship, especially the connection with the old girlfriend. I would have preferred a more focused plot, where the protagonist attends some kind of reunion or gathering that leads to rekindling a romance. The family conflict could have been trimmed down or explored in a more meaningful way.

I understand that this film touches on themes of identity, acceptance, and the complexities of family dynamics, particularly around transgender issues. However, I feel the movie relies too heavily on the tension of the protagonist's identity and the discomfort it causes among family members. We've seen these types of conflicts before, and while they are important and real, they can feel repetitive if not handled in an innovative or engaging way. At some point, I wanted to see more of the protagonist's life beyond the familial drama-more exploration of love, relationships, and self-discovery, without always focusing on the external conflict of transphobia or familial rejection. It's a vital part of the narrative, but I think we need to move beyond these plot points and engage with the characters as complex, multifaceted individuals, not just as symbols of societal issues.

In the end, Close to You feels like it's stuck between wanting to be a deeply personal story about love and identity, and a more conventional family drama. But it doesn't fully commit to either. The movie lacks the narrative depth and emotional resonance needed to make it truly impactful. It's a shame because the potential was there-the performances, the direction, and the music all had promise-but the script and structure fail to tie everything together in a way that feels satisfying.

Ultimately, I think this film missed an opportunity to create something truly special. If it had focused more on the relationship dynamics and less on the drawn-out family conflict, it could have been a much stronger, more engaging story. As it stands, Close to You feels like a missed chance to tell a richer, more engaging narrative about love, identity, and human connection.

Sam has left home - the small town of Coburg - moved to Toronto, and has transitioned from female to male. He now takes a trip home - the 1st in 4 years. On the train, he happens to meet Katherine, his best friend from high school.

The reason for the return is his father's birthday party, which allows the writers to populate the family with a selection of attitudes about the transition. His father is mostly relieved that Sam has found himself, and is no longer in pain. His mother will always remember him as her little girl, consistently misgenders him (not necessarily maliciously), and is concerned about his well-being, compared to his sister who stayed in Coburg and got married. His sister wonders why he never confided in her, when they shared a bedroom growing up. And his brother-in-law is transphobic.

Escaping the family, Sam seeks solace with Katherine.

This is a Elliot Page vehicle, inspired by his life. The direction allows him to casually show off his boy bod. This answers the question "where are they now"? However, after this autobiographical-inspired story, I am wondering what other projects he will appear in.

Using available-light photography lost one star by me. Too often, the subjects were shot with a background of a bright window, making it to hard to see facial expressions.