“OUTRLANDS” from Elena Oxman is a film of wonderful cinema light. The drama of San Francisco, withdrawn, is about Cass Cass Cass and Lonely Non -Buninal Server Cass (Asia Kate Deleon), simple to show it, but it denies many classes in her story. This eventually collapses, and based on emotional wip. When she leaves the work of Cali (Louisa Kraos) suddenly in the city, a cup is responsible for her quiet but 11 -year -old daughter, Ari (Ridley Asha Batman). The longer Kali remains, the more a cup is forced not only with the possibility of giving up Arry, but with the abandonment of his childhood, which still extends nowadays.
This direct plot is often divided by poetic breaks, which consists of weak shots of the changing city view. Once the loud strange capital arrives, the inequality that San Francisco was afflicted has reached something from the collapse point. On one side, a high technical company rises. On the other hand – in Cass’ District, they are called colloquial, called tenants – the tenants are struggling to rent despite the work of many jobs.
The gay friend cup in the restaurant has Emile (Daniel K. Isaac), who demands them to join him on different nights in local bars. Sometimes, a cup is elected in mood, because they often suffer from depression. At other times, the wrong type of Judgy of the person of Queer Cisgender indicates an early end of the night. Delon’s voice and its appearance have changed to a large extent since their frequent role in “billions”, which only adds to the film’s descriptive text: that there is a transgender person and/or a person who is not built in modern America is the scrutiny call. However, “Outerlands” does not exceed its political scale (in fact, it was barely immersed at all). Instead, his social and political context gently wraps about the details of Cass’s experience.
For Cass, who lives in the world, among other people, is unstable, whether because of their sexual identity, childhood shocks that left them unable to trust people, or the uninhabited hidden space where the two interfere – externally by Oxman with installation, close close. Sometimes, exposure to error adds to a karabi day already, but sometimes, your identity defends it or confirming it by someone you love makes you more attracted to them. The film never separates their surroundings. This is where its dramatic strength shines.
With the help of Lina Rin -haunting degree – which was built from paradoxes between electronic tones and orchestra – framing “external lands” San Francisco as a transient space, and never allowed the cup to feel comfortable. This feeling of unstable even the lowest drama in the movie is usually learned about Cass in an attempt to communicate with ARI while tracking her mother as well.
Since the self -sufficient teenager Ari, Batman performed wisely after her years, with a comic timing, dramatic and born of an instinct. Young Ari does not want to face the fact that her mother may never come back, although the Prussian independence with which Batman is telling his own story, as if Ari had to deal with this scenario before.
As the movie continues, Bateman and Dillon open brief windows in insecurity for their characters. In this process, ARI and Cass show themselves the most vulnerable, if only for a few passing moments. However, even when they are in the most amazing defense mechanism – the defense mechanism that feels learning – the frame always alludes to their desires in previous amenities. Ary, despite the approach of Hood in adolescence, holds the stuffed animals that her mother presented to her. Cass, while he was on a middle -aged petition, lives in a chaotic studio apartment, and it forms like the boy’s bedroom, and in the end it retreats to a video game of their youth (when they do not drown in beer, that is).
For those who have suffered from great childhood pain, the inner child is something that still needs care-something that is reminded by an older lesbian woman who meets her in a bank, and the pleasant Dennis (Lea Delaria, in a small but moving role). However, for Cass, the love of themselves is no longer easy, because love has always seemed very fraught, which leads to its evil emotional cycle. Delon continues in this precise aspect of the gender and gender-sex experience that lacks support structures-by creating a reconciliation surface in which the audience is preparing, which makes us interested in not discovering the details of only a cup past, but eager to feel the most complex feelings, alongside them.