God's Own Country

The "British Brokeback Mountain" label that follows this film around is really unfair as it sells what is a magical move in its own right (and a stunning feature film directorial debut) really short. ... The "British Brokeback Mountain" label that follows this film around is really unfair as it sells what is a magical move in its own right (and a stunning feature film directorial debut) really short. The film is paced so well (I'm a fan of slow, gentle pacing that lets a story unfold; I know others might find it boring), giving us time to really get to know the characters and immerse ourselves in their world so that the plot evolution hits the way its supposed to. The cast is phenomenal, bringing depth and realism to their performances, it's easy to feel the emotions they feel. The way the film handles intimacy and sexual tension is both sensitive and raw, making the characters' connection feel incredibly authentic. One thing I really liked is how it does a good job steering clear of typical love story clichés. It's not just a film about rural hardship; it's about the challenge of loving and being loved, especially in a setting where such stories usually end in tragedy. The film has this unique ability to depict the gritty reality of farm life, complete with the mud and the livestock, while simultaneously exploring the complex emotional landscape of its characters. It's not another BROKEBACK MOUNTAIN and it's not just another "gay love story." It's its own film and it beautifully depicts a relationship filled with hope and fulfillment, challenging the often tragic narratives we see in rural settings.

Josh O'Connor ("Johnny") is excellent as the frustrated rural English farmer cruising through life on the bottle, peppered with the occasional romp with the only other gay in the village (Harry Lister... Josh O'Connor ("Johnny") is excellent as the frustrated rural English farmer cruising through life on the bottle, peppered with the occasional romp with the only other gay in the village (Harry Lister Smith). His father (Ian Hart) has long since stopped being able to run their farm and can now only contribute to the futility of his son's existence. They recruit an itinerant Romanian worker (Alec Secaeanu) to help out with the heavy lifting and a bond quickly forms that initially induces confusion and conflict before they realise that what both truly seek they can find in the other. It's a film that doesn't pull it's punches; isn't at all sentimental and aside from the occasional gentleness provided by his mother (Gemma Craven) is much less of a sanitised "urban" story about homosexuality than perhaps we are used to.