The allure of being loved can be so intoxicating that it can blind one to the fact that those we desire the most may not be the ones we actually need in our lives. As Sophie Dupuis shows in her wonderful film Solo, sometimes we can feel isolated around those who we ostensibly love the most.
Set in Montreal's drag scene, Dupuis constructs an intimate portrait of love and the toxic relationships that are hard to break. Simon (Théodore Pellerin) is a talented makeup artist by day, but his creative side shines brightest when performing in drag on stage at a local bar show. Exuding a seemingly impenetrable confidence, he soon meets his kryptonite in Olivier (Félix Maritaud), a handsome performer from France who has joined the show.
Falling hard for the charming man, Simon believes he may have found his perfect match both romantically and professionally. Swept up in the whirlwind of new love, the pair's scorching chemistry spills onto the stage as they begin collaborating on performances together. As Simon introduces Olivier to his family, including his sister Maude (Alice Moreault), who is both his biggest cheerleader and his costume designer, and rides the high of being in a committed relationship, Dupuis skillfully lulls the audience into the soothing rhythms of blossoming love.
Just as the viewer gets comfortable with the dreamlike warmth of romance, the director sets off a series of alarm bells that wake viewers up to the realities her protagonist refuses to see. The first is the re-emergence of Simon's estranged mother Claire (Anne-Marie Cadieux), a famed opera singer who abandoned the family to pursue her career years ago, who will be in town for a few days for a show. Despite his sister's warnings of their mother's selfish nature, Simon remains eager to connect with the woman who does not seem to make fitting her son into her schedule a top priority.
His mother is not the only one who might not have his best interests at heart: Olivier slowly displays traits that goes against his loving demeanour. Regardless of whether he is making subtle comments about his partner's outfit or being a little too flirty with others at the club, his frequently shifting moods trigger Simon's insecurities.
As Simon falls deeper under Olivier's confusing spell and loses sight of himself in the process, Dupuis weaves a cautionary tale of the emotional harm that comes from seeking validation from others. Whether using spotlights on the dance floor to illuminate the impact of Olivier's actions on Simon or providing a glimpse into one of Claire's rehearsals, the film captures the ways toxic individuals can deflate a person's spirit.
The deflation of Simon's confidence is even more heartbreaking thanks to the way Dupuis juxtaposes his decline with the various drag numbers showcased in the film. Thanks to Pellerin's dynamic turn as Simon, bringing plenty of swagger when on stage and vulnerability off of it, the drag performances move from a source of strength for the character to one of insecurity as the film progresses.
Winner of the Best Canadian Feature Film Award at this year's Toronto International Film Festival, Solo is a film that earns its emotional beats. Dupuis avoids many of the familiar tropes audiences might expect from a film set within the world of drag. Instead of focusing on trauma and hate, she allows her characters to simply exist as regular people trying to make sense of the confusing nature of love. A vibrant and emotionally rich tale, Solo is a reminder that one is never alone when you learn to love yourself.
(Axia Films)Set in Montreal's drag scene, Dupuis constructs an intimate portrait of love and the toxic relationships that are hard to break. Simon (Théodore Pellerin) is a talented makeup artist by day, but his creative side shines brightest when performing in drag on stage at a local bar show. Exuding a seemingly impenetrable confidence, he soon meets his kryptonite in Olivier (Félix Maritaud), a handsome performer from France who has joined the show.
Falling hard for the charming man, Simon believes he may have found his perfect match both romantically and professionally. Swept up in the whirlwind of new love, the pair's scorching chemistry spills onto the stage as they begin collaborating on performances together. As Simon introduces Olivier to his family, including his sister Maude (Alice Moreault), who is both his biggest cheerleader and his costume designer, and rides the high of being in a committed relationship, Dupuis skillfully lulls the audience into the soothing rhythms of blossoming love.
Just as the viewer gets comfortable with the dreamlike warmth of romance, the director sets off a series of alarm bells that wake viewers up to the realities her protagonist refuses to see. The first is the re-emergence of Simon's estranged mother Claire (Anne-Marie Cadieux), a famed opera singer who abandoned the family to pursue her career years ago, who will be in town for a few days for a show. Despite his sister's warnings of their mother's selfish nature, Simon remains eager to connect with the woman who does not seem to make fitting her son into her schedule a top priority.
His mother is not the only one who might not have his best interests at heart: Olivier slowly displays traits that goes against his loving demeanour. Regardless of whether he is making subtle comments about his partner's outfit or being a little too flirty with others at the club, his frequently shifting moods trigger Simon's insecurities.
As Simon falls deeper under Olivier's confusing spell and loses sight of himself in the process, Dupuis weaves a cautionary tale of the emotional harm that comes from seeking validation from others. Whether using spotlights on the dance floor to illuminate the impact of Olivier's actions on Simon or providing a glimpse into one of Claire's rehearsals, the film captures the ways toxic individuals can deflate a person's spirit.
The deflation of Simon's confidence is even more heartbreaking thanks to the way Dupuis juxtaposes his decline with the various drag numbers showcased in the film. Thanks to Pellerin's dynamic turn as Simon, bringing plenty of swagger when on stage and vulnerability off of it, the drag performances move from a source of strength for the character to one of insecurity as the film progresses.
Winner of the Best Canadian Feature Film Award at this year's Toronto International Film Festival, Solo is a film that earns its emotional beats. Dupuis avoids many of the familiar tropes audiences might expect from a film set within the world of drag. Instead of focusing on trauma and hate, she allows her characters to simply exist as regular people trying to make sense of the confusing nature of love. A vibrant and emotionally rich tale, Solo is a reminder that one is never alone when you learn to love yourself.