Close

Lukas Dhont is the name of one of Europe's most promising filmmakers, a director whose aesthetic goes right back to European classicists filmmakers such as Erik Rohmer. In Dhont's second feature, entitled Close, almost every strand of narrative is told through more or less disjointed scenes and segments, and every emotion and character development is implicit, often undercommunicated. The story is about two young friends from the Belgian countryside, Léo and Rémi, whose tightknit bond reaches a zenith the summer before they start secondary school. With new classes forming and hormones flowing, their special relationship is tested by means of peer pressure, conventions, and Léo's need for redefining himself and widening his horizons. This forces their pure, undefined love towards a definition that none of them have the maturity to outline.

Dhont had already made a name for himself with Girl in 2018, and his follow-up is equally hard-hitting, albeit arguably less obviously so. In Close, nothing is told or tackled head-on, instead we the audience is left with the task of deciphering and defining every single development. This is a form of moviemaking that had seemingly gone out of fashion in the post-streaming era, but which Dhont revitalizes emphatically here. His camerawork and patience with his actors is such that you become one with the characters. When his camera lingers on young Eden Dambrine as Léo, you're invited to a fusion between viewer and character; you become this young man and live out his predicament. If there ever was pure filmmaking, this is it. Which is why you also accept the small droplets of emotional manipulation that inevitably infuse the final part of the film.

Dhont's work is visually and narratively remarkable. But his most impressive feat with Close is how he has extracted masterclass performances out of his two inexperienced lead actors. The first third of the picture has a timelessness to it which is reminiscent of the Nouvelle Vague. And after the film's turning point, Eden Dambrine's expressive but understated face carries the story almost in a Brandoesque manner. His Léo is one of the best child performances in decades, and certainly on this side of the millennium, making Close a coming-of-age film for the ages.

I've seen literally thousands of films and I have to say that "Close" ranks as one of the finest I've seen. As someone who had a very close friend who rejected me simply for who I am when I was younger, this film brought that experience so much more into focus for me that I openly wept throughout most of the last half of its running time. As a result, I found myself having a hard time forgiving the character of Leo as the film progressed, but eventually I felt I had no choice.

The performances and the chemistry between the two leads who play the main characters are so real and natural that at times I forgot I was watching a scripted and directed film rather than a documentary. I found the same true-to-life characterizations in Lukas Dhont's earlier film "Girl." He's clearly a very gifted director, and I would love to watch this man direct actors to understand how he's able to pull such amazing performances from them.

The film is also beautifully photographed, much of it taking place in the French countryside.

"Close" is reportedly going to be nominated for an Oscar here in the U. S., and I hope that helps it get the wide exposure to audiences it so richly deserves. The message in this superb, heartbreaking film is that friendships are so much more important than we actually realize and that as males, the toxic masculinity we encourage among ourselves can ruin lives.

2022 NZIFF. Probably should have waited until tomorrow to do a more measured review, but watch this film for the acting masterclass from Eden Dambrine (Leo). To say so much with expressive eyes without uttering a sound; excitement, beguile, love, sorrow, terrible loss - one can't look away. What a find, and congratulations to the casting director. As for the film, kudos to the director Lukas Dhont for such exquisite framing, sequencing, colours and sound. Special mention to the flower farm hard work scenes, and the scenes following the boys at speed, whether running on a beach or through the flower farm, or on their bikes - amazing tracking. The topic of unbearable loss creating misplaced guilt is dealt with a sensitive directorial hand, and the maturity shown by a thirteen year old to navigate such a role must not go unrecognised. Also need to mention Gustav De Waele as the best friend of Leo and Igor van Dessel, Leo's brother - both are brilliant in support, and I also loved the subtle role of Leo's mother, played by Léa Drucker. But this is Eden Dambrine's film.

I just saw this film at the Sydney Film Festival. I enjoyed it immensely. Excellent, believable, heart wrenching performances from the 2 main principal young Men and the supporting cast...BUT, the sound in the wonderful State Theatre was so loud with the cuts from each scene badly interspersed from moving, touching, tearful scenes suddenly loudly sporting/schoolyard etc ones blasted into the screen...like a sledgehammer. Needs an edit.

Thirteen year old "Léo" (Eden Dambrine) and his schoolfriend "Rémi" (Gustav De Waele) are inseparable. The play together, eat together, sleep together - an ideal fraternal relationship. At school, though, their classmates start to make disparaging remarks about them, and the naturally more gregarious "Léo" begins to shun his friend a little, then a little more... Tragedy ensues after "Rémi" doesn't show up for a school trip and the repercussions hit the young "Léo" and "Sophie" (Émilie Dequenne) - the mother of his friend - especially hard. On one level this film is about cruelty. Not a deliberate, malevolent style of cruelty - but one of indifference, of ignorance - a bully's sort of cruelty. On another it is a story of love, loyalty - betrayal even. It is an highly emotional film with two excellent performances from the young boys conveying their respective responses to a bewildering array of suspicion and judgements being thrust their way by those who knew no better - but should have. It's about parenting, about openness and about how people deal with tragedy in their own, personal way - and it is very effective. It really does leave a lump in your throat afterwards. Well worth a watch.