Beach Rats (LFF)

Beach Rats opens with a dark room, lit sporadically by the harsh flash of a camera, by which we see brief glimpses of a naked torso, a flexing arm. This is our introduction to Frankie, a hyper-masculine teen growing up in suburban Brooklyn whose struggles to come to terms with his sexuality prove tortuous for him and forms the central narrative of the film. I say narrative, but the film is more a portrayal of Frankie's life as he struggles with his disintegrating family and meets up with older men online. 

Harris Dickinson is absolutely sensational in the title role, bringing to the forefront Frankie's internal conflict with stunning clarity. His total immersion in and embodiment of the role means he is at once completely cryptic but strikingly readable, his long gazes and often grim-faced expression speaking volumes. It's an incredibly complex performance that reminded me in many ways of Johnny from the recent British film God's Own Country; both are moody and at times aggressive towards those around them but we remain deeply sympathetic towards them and they ultimately win over the viewer. 

Many may not even realise that he is a native Brit as his Brooklyn accent is so spot on that it even fooled director Eliza Hittman, who (speaking in a Q+A after the screening) revealed he did his whole audition with the accent and it was only afterwards that they realised he was British. 

Another major strength of Hittman's film is the central relationships that Frankie's life is based around. His interactions with his tightly knit and heavily masculine group of friends, all played by non-actors, his on and off relationship with Simone (powerfully played by Madeline Weinstein in a very touching role) and the intense dynamic between him and his embattled mother (Kate Hodge) all feel incredibly real and natural. Of course, this is largely due to the very subtle and pared-back script that often eschews dialogue to let body language do the talking and the film is all the better for it.      

The film is also superbly shot with excellent sound design, fully throwing the viewer into the world of outer New York, slightly removed from the hustle and bustle of the city. Gorgeous shots of sprawling beachfronts contrasted with urban jungles give an excellent sense of both rural seclusion and metropolitan hubbub. This leads to the city basically becoming it's own character, each location having a major impact on the scene in question.  

Frankie's torment is also evoked throughout the film in beautiful and touching ways. Shots of his shirtless friends that linger on their chests, shoulders, arms etc. tell us everything we need to know about his torment while his often cold and withdrawn attitude towards Simone holds far more meaning than she realises. The effectiveness of such details is largely down to Dickinson, whose intensity and complete commitment to the role elevates Beach Rats into something truly special. 

The thought I had in my head as I left Beach Rats was that we need more films like this: honest, raw depictions of gay relationships and repressed sexualities, struggles that people are experiencing all around us but which we rarely see on film. As mentioned, it holds a lot in common with God's Own Country, as both are beautiful explorations of gay identity and the failures of society. Hittman's emphasis on forced masculinity and repression is particularly fascinating and, with a superb cast, becomes deeply affecting to witness.