“We are who we pretend to be,” said Kurt Vonnegut, a phrase that threatens to come across as a truism but might act as an effective thesis for a film about how we find ourselves in our performances. Solo, the third feature from Quebecois writer-director Sophie Dupuis, is told from within the world of Montreal’s drag scene. For drag performers, embodying an alternate persona on stage is central to the artform’s creative spirit. Such personas are often the “lie that tells the truth,” expanding how individuals can relate to and embody different aspects of their inner world on stage. Dupuis’ film is concerned with the possibilities offered by performance as both metaphor and catalyst for personal transformation, and what happens when the identities we hold onto begin to hold us back.
We follow aspiring drag star Simon (Théodore Pellerin) through his abusive relationship with fellow performer Olivier (Félix Maritaud). Under the weight of the increasingly controlling relationship, alongside pressure to connect with his absentee, Opera-star mother Claire (Anne-Marie Cadieux), Simon’s relationships with both his chosen drag family and his biological sister, Maude (Alice Moreault), begin to suffer. Dupuis has an eye for the dynamics of dysfunctional family systems, and what people are willing to tolerate within the trappings of these dynamics. Here we see Dupuis reinvestigating similar themes to her 2018 debut crime-thriller, Family First (Chien de Garde), which follows the exploits of a family of drug runners in Montreal’s Verdun neighborhood. In this feature, the director appears to have more of a handle on her subject matter, aided by a cast of talented queer actors who go a long way to giving the plot needed color, but often feel underutilized for the amount of characterization they are given.
The script, written by Dupuis and finalized in collaboration with her actors during pre-production, centers its orbit around Simon whose world is shaped by his close relationship with his sister, a seamstress and designer who makes dresses for his performances, and his drag community. These two poles orient his world but are put into conflict with the arrival of newcomer, Olivier. The two are drawn together immediately, quickly moving in together and choreographing duo performances. Olivier awakens a torrent of creativity into Simon’s life that turns sour as he begins to bring more of Simon’s time and energy under his control, punishing any attempts at personal or creative independence. The new relationship isolates Simon as he begins trying to build a relationship with his mother who abandoned the family a decade before to pursue a career in opera. His view of her is painted by a delusional, aspirational desire for connection that idolizes her position as a successful artist. In a telling scene, we see Simon perform a drag version of an opera number in an attempt to emulate her, much to the bewilderment of the drag bar’s audience and his fellow performers. This dual nature of performance is the emotional heart of the film, seeing Simon struggle against his desire for connection with a woman who isn’t much more than a ghost in his life.
Solo’s images, supplied by cinematographer Mathieu Laverdière, follow the playbook for contemporary indie dramas. Shot simply and at the human level, the filmmaking caries the dramatic moments well enough but truly shines when portraying drag performance and the after-parties that follow. Here the duo allows themselves to be more expressive with color and light. Dupuis has a penchant for capturing moments of dreamy ecstasy — romantic intimacy, MDMA-fueled partying, and, of course, dancing. But as expected, the show-stoppers are the drag performances themselves, which punctuate the film and maintain an ambiguous relationship to the narrative. At times they appear to be commenting on dramatic developments between characters, allowing tensions to be expressed with a heightened physicality. Otherwise, they are just great fun, in any case, all impressively performed and well-shot.
True to its title, Solo is keen to confirm the importance of self-acceptance and belief in oneself, all of which is well and good as far as messages go. However, it often feels as though the movie pulls its punches, opting for an all too conventional plot to carry it forward, albeit one dotted with flashy dance numbers and strong performances across the board. This lack is felt especially in the use of the supporting cast, all of whom compellingly inhabit their characters so well that we want to see more of them. Instead, they are sidelined to the point that emotional beats in the film’s second half tend to fall flat.
Photo courtesy of Music Box Films
The post Solo appeared first on Spectrum Culture.