Dhont’s film is unique in its visual beauty, meticulous observation and overwhelming sense of sadness and hope, resulting in a modern masterpiece that has not received the attention it so duly deserves. Close is playing in cinemas now and on MUBI starting April 21.
Joint winner of the Grand Prix award at Cannes 2022 and nominated for Best International Feature Film at the 2023 Academy Awards, Close has taken a long time to arrive in British cinemas, despite a premiere at the BFI London Film Festival 2022. As a result, I fear it may simply slip under the radar, which would be a travesty.
While Dhont’s Close didn’t make much of an impact at the BAFTAs and likely won’t at the OSCARS, trust me, this is one of the most powerful, beautiful, and emotional portraits of the journey from childhood to adolescence I have seen. In essence, it is a raw exploration of the final weeks and months of innocence in a world where young boys are still subject to various damaging social expectations and stereotypes that suddenly arrive alongside puberty.
Thirteen-year-old Léo and Rémi are inseparable and as close as brothers, spending every waking minute together, playing, laughing, discussing, and caring for one another. But when Léo and Rémi make the jump from primary school to the new world of secondary education, their new classmates gossip about the boys ‘close friendship, insinuating the boys must be ‘gay’. All boys and men watching this painful social conditioning unfold will relate to the themes at play.
We all had close male friends as kids who we let go in our teens due to the perceptions of others or the fear of being labelled. As this painful process unfolds for Léo and Rémi, we are acutely aware that the emotions attached to their bond differ for both boys. Léo wants to be one of the popular kids and fears the emasculating effects of the gossip around him, while Rémi’s only fear is losing Léo. With incredible performances from newcomers Eden Dambrine and Gustav De Waele, we watch a friendship fragment as a tragedy unfolds.
Close explores the moment adult labels and gender expectations invade the once-safe bubble of childhood – the adventure, innocence and security of that bubble suddenly corrupted. We all go through it as children, no matter our sex or gender identity, as our same-sex friendships morph into something more controlled and stilted. But for boys, this process is even more pronounced as they are encouraged to strengthen their emotional shield.
This impenetrable shield keeps them safe against damaging rumours while demonstrating their strength, resilience and power as young men. The shield hides their emotions behind false smiles and encourages them to push away insecurities or, god forbid, feelings for other boys. It slowly destroys the wonder and freedom of the boy, with men only realising what they lost when they reach middle age and attempt to reclaim that lost boy within.
Weaved into Dhont’s stunning tapestry are the unmistakable patterns of Louis Malle’s Au Revoir les Enfants and François Truffaut’s The 400 Blows. Dhont’s film is unique in its visual beauty, meticulous observation and overwhelming sense of sadness and hope, resulting in a modern masterpiece that has not received the attention it so duly deserves. Close is one of the best coming-of-age films of the past twenty years.
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