Sebastian

Well, I've never used a sex worker in London so had no idea about the huge sums of money to be earned. £300 an hour! That's serious money. No wonder the impoverished students who formed the basis of Max's initial research got into the trade.

Max's odyssey through the world of escorts engendered tensions. He was earning huge sums while using the clients for his novel but also beginning to form relationships with some of them.

Max developed personally too in a different way. His initial reluctance to be known disappeared as we saw in the very last line of dialogue in the film.

I found the characters in the film to have been well rounded and believable. The script was well written and captured the world Max was living in extremely well.

I'm glad I saw this.

Max is a 25-year-old aspiring writer living in London. Alongside his journalist job, he works on his first novel, centered on gay male prostitution. Max finds his inspiration in an original way: he recounts his own experiences as an escort, under the alias of Sebastian. He is embodied on screen by Ruaridh Mollica, a charming and talented actor. Ruaridh perfectly conveys the inner complexity of his character. He is in almost every shot, including the numerous and graphic sex scenes that fortunately do not overpower the story. Writer-director Mikko Makela takes a non-judgmental approach to deal with topics such as the creative process, the world of escorts, self-discovery and self-acceptance. The images and colours are beautiful. The city, with its anonymity and loneliness, is a character in its own right. I found the movie interesting. It shows a raw side of current gay sexuality and correctly portrays a young artist in search of both success and identity.

A young writer explores sex workers circle for write a novel. But this adventure is not easy or cheep and, in profound manner, transforms him .

A not original theme , well reminded , well acted- especially Jonathan Hyde contribution represents a serious good point , realistic - the trace of a Julien Sorel in new version - and a good work of Ruaridh Mollica as Max.

In essence , a clash between editorial world and sex workers one , the reactions , the dialogue, the inspired last scene reminding, in cold - precise manner the laws of a confrontation who gives to young writer chance of significant transformation.

Great part - the relation with mother as oasis in the circle of chain of tensions.

In discussing an assignment for a Bret Easton Ellis report, a dispute surfaces as to whether one writer or the other asked for it first and if quality is subordinated to optics. The boss says, "I do think it best that queer writers cover queer authors" and that it is not a matter of optics but sensibility and sensitivity. This exchange illustrates an often-heard idea when it comes to art. Does it change if artists experienced, lived, what they write about? Does sensitivity and sensibility presuppose experience that translates, and is legible, as artistic quality?

Written and directed by Mikko Mäkelä, Sebastian is his sophomore feature that, like his previous one, A Moment in the Reeds from 2017, takes place in the LGBTQIA+ community. Mikko Mäkelä is interested in exploring questions of identity, personhood as a site for exploration with profound characters that defy any simplistic analysis. Max is a very interesting protagonist. Played by Ruaridh Mollica, Max is a young aspiring writer who already published short stories, some of which made him the recipient of accolades, and now wants to write his first novel. Ambitious and talented, he finds in sex work not only inspiration for his novel but also a vehicle for self-discovery. Sebastian is the name he chooses for his escort persona, something common in the profession as it helps to hide their real selves and therefore mitigate stigmatization. As someone new in this, Sebastian will encounter different clients who find in him something uncommon, i.e., someone honest and real who does not hide behind a description that does not belong to him. As one of the clients succinctly put it, "It's so nice that not everyone is deceptive." Words that do justice to their meaning because Sebastian is beautiful and they are captivated by him. The clients will provide Max the literary stimulus needed and also money, something that, for young authors, is not precisely abundant in the writing profession.

And while at its core a character study, something interesting about Mikko Mäkelä's feature is its social commentary about realities most do not have an insight into. Realities where money is always present, although many times occluding feelings that cannot find form to be translated directly. Love, even if it is of the carnal kind, and even if its purpose is short-lived once the fulfillment of desire is completed, never ceases to be but a façade of its true transactional nature that comes undone when the realization that the other is not a possession comes alive.

Its cinematography consists of aesthetic, stylish visuals that add to the sense of being in a world where appearance is of the utmost importance, its highest currency. Its sleek ambience bears a resemblance to The Girlfriend Experience, a resemblance, of course, not limited to its cinematography. Like Chelsea, Sebastian is not the answer to a traumatic past or the like, on the contrary, it might be said he is a heightened version when ambition meets possibilities.

Technically interesting film. That alone merits a rating of more than average in an age of mediocrity that uses hand-held cameras, poorly lit scenes, and mumbled scripts. As to plot, there is as well a nice touch in creating a writer who lives in his own fictional creation which in turn is a reflection of an ambiguous desire to give life to his true instincts. Or something like that. Although the "Sebastian" trope is an overdone cliché in gay fiction, it does support this film's recurrent dip into nudity. Indeed, showing older men as objects of passion fits the intent of the narrative very well. Beyond that I probably would not care to view it again.