Reverse Shot A different angle on moving images—past, present, and future

It is outwardly dispiriting and disarmingly sweet, narratively brutal and formally subdued, thematically outré and structurally prosaic. It articulates taboo subjects with the matter-of-factness of the everyday, equally in tune with the absurdity and mundanity of the relationship it portrays.

Jenkin shot Rose himself on a 16mm Bolex with no live sound, opting to mix, record, and compose all of the film’s aural elements in postproduction. The uncanny effects of this approach lend his tactile imagery a subtle layer of distortion, the story seemingly echoed from a distant point in time.

The notion that gay lifestyles are fundamentally lonely and perilous is, of course, absurd and antiquated, but this acutely provocative filmmaker meets such stereotypes head-on, exposing their roots, testing their limits, and probing their lasting impact on queer narratives past and present.