Two Eyes

First of all the music and scenery is beautiful.

And there wasn't anything that I didn't like about the movie but it gave me sad feelings.

I was curious to know where this movie was going, It's about Love and the struggle some people have had to go through to live their lives in peace and be themselves.

Although I don't identify with the characters I could feel their emotions, very well acted.

History is brought to life in a beautiful setting, by the experiences of two men in 1819, the characters in 1979 and present. Well this film shows us there is nothing new under the Sun, it's a Very Special Film.

The movie has a potential to become a seasonal treasure of the queer cinema, but also left me with an awkward feeling. I am happy that the topic of two-spirit roles among the Native Americans arrived to the feature film screen. But in the broadness of what those roles represented and what meanings it carries for the present - I find it very paradoxical that it appears only as a mere "mention" - the character of Poopahte just "is" there for a moment and indirectly becomes a trigger for the self-reflection of the main character from the oldest timeline. His paintings are then just a "pretty souvenir" decorating the point(s) of the further timelines.

The cowboy story line is in the first-plane view the most attractive part, thanks to the unbearably handsome styling of Benjamin Rigby (Alien:Covenant) and Kiowa Gordon and references to the still popular gay fantasies induced (also) by Brokeback Mountain. With a pleasant/progressive interracial twist. But the story flows somewhat predictably, didactically, artificially nicely or artificially emotionally moving. The second timeline revolves around teenage dream of escaping the small-town reality and meeting amazing creatures on an amazing road-trip. Stolen-moment excitement. It is decorated by the presence of South African singer Nakhane (known from the exotic xhosa gay story Inxeba), who again very charmingly and naturally inhabits his role (quite much himself, I'd say). The third line - the cautious opening up of the suicidal trans-boy to his maternally-caring non-binary therapist - is the most contemporary and acute one, although also the most "by the textbook".

That's the sand grinding between the smiling teeth - the movie presents its meaningful messages and lecture very straightforwardly. Sometimes evoking feeling of watching an educative documentary on gender-related issues for high-school students. The dialogues could not be more simple, direct and purposeful. The script is missing some refinement, naturalness.

On the other hand I appreciate the well made visuals, the intense (though a little kitschy) atmosphere depiction in various spaces of its stories. The beautiful but also hopeless monotony of Montana or Wyoming prairies or social space. I see the film's added value in stepping beyond cheesy masculine gay romance, including the trans and intersex and two-spirit characters and topics. It's all there (positive) alas it's all just there (negative). All the timelines nicely meet, complement, explain themselves - it's a beautifully made "bouquet" - but with a strong aftertaste of being (cleverly) arranged. Good start.

I love that this is a trans-affirming film -- so positive and real The stories are compelling with realistic consequences, and I was tearing up for the last 15 minutes of the film.

I love the example of the scripture of gender fluidity within a cultural context. I have never seen it expressed so naturally in film.

The weaving of the three time periods is done in a clever way and didn't feel contrived. Although the main characters are queer, I believe the film also calls out the importance of the ally community.

Very good acting and I love the use of the close-up cinematography.

This is not just a film for LGBTQ audiences; it is a film that everyone should see. This ranks up there with Brokeback Mountain for me!

Thank you for making this amazing film!

This movie moved gradually, unfolding with precision and overlaying the three stories with care. For quite some time, the stories felt disconnected. The pace was also rather slow but the environments and characters carried me along.

From the offset, the three stories fascinated me. The interconnections, initially unknown, reveal themselves slowly and with meaning. And each period has a different energy, which was intriguing.

The earliest, following an artist in search of his muse, is the most contemplative. Dihlon's observations of the landscape imbues the story with a stillness and yearning truly vivid.

The story set in the 1970s has an eagerness that spills out, likely due to the performance of Aleson and her fervor for life. This youthful need to figure oneself out makes this part especially accessible.

In 2020, the story arrives with a sense of mourning. Loss and grief crystalize within every movement of Jalin's emotional shift. When at last the stories weave together, I was left in tears, feeling the weight of these different people from different eras, all wishing for acceptance, a place where they can feel loved.

As a cisgender queer woman I was moved by this story overall. Feeling displaced from one's own life, balancing romantic love with societal expectation, and finding hope in a path one crafts for oneself are all visceral and tangible ruminations.

Honest performances bringing to life multidimensional characters in a satisfying storyline. Travis Fine's keen eye permits him to view humanity from a unique and enlightening perspective.