
Williams has filled the screen here. Firstly with his underwear wearing protagonists, two young footballers, Jason (Russell Tovey) and Ade (Arinzé Kene), who are knocking about before a career making/breaking match. Their bodies are screen-filling. Their energy is screen-filling. Their character is screen-filling. But so is Donnelly’s sub-text… which here should probably be labelled super-text. Jason and Ade bounce off each other with theatrical capriciousness, rebounding off the walls with hairpin mood swings, until they arrive at the thematic crux: a tender kiss.
But footballers don’t do that. Not if they want to be successful. Flash forward five years and Jason, now famous, has invited a woman back to his hotel room to re-assert his heterosexuality. Flash forward another five years to find Ade invited into Ade’s hotel room for a final reunion-come-confrontation.
Tovey and Kene put in performances better than the material they’re working with here. Donnelly’s script elides years but allows his characters little emotional growth. This may well hit the nail on Jason’s head but it feels too convenient when blanketed over Ade’s as well, especially when other characters enter their boiler-room.
The Pass does the job; everyone says what they need to say about masculinity and homophobia in sport, about the lengths players will go to cover their sexualities up, and about the damage this causes to them and those around them, but not with any nuance and not with any feeling.
★★★
Trailer:
The Pass screened as part of the Melbourne Queer Film Festival 2017.
You can check out other films from the festival here.
No comments:
Post a Comment