God's Own Country

That title is in no way an insult. 'Brokeback Mountain' is a masterpiece, one of my favourites. 'God's Own Country' is also, in its own way. A film with an interesting, if potentially not the most accessible subject matter, that ended up being one of my favourite films of the year so far and for me the film that moved me the most.

'God's Own Country' is a film where, providing that the subject matter appeals (personally think it is an important subject and not explored enough on film and treated very judgementally in society) and one goes in knowing what to expect, it wouldn't make a difference whatsoever as to what gender or sexuality the viewer is. Speaking as a heterosexual female with "gay" friends (among the nicest people personally met too). It took the festival circuit by storm and it's no wonder.

It's a beautifully made film, especially in the luminous photography and rich in atmosphere scenery. The music has presence but is never intrusive, even only being used when needed. Minimal dialogue proved to be a good choice and what there is of it was still thought-provoking and flowed well. When not with spoken dialogue, 'God's Own Country' really resonates. Showing the beauty of registering so much and inducing emotions when understated and very quiet in mood, with as little as small gestures, expressive eyes and faces and no words.

Francis Lee does a remarkable job directing, cannot believe that this is his directorial debut. There are not many great first-time-director films, even the very best went on to much better things (for Kubrick's first film was also his worst), 'God's Own Country' is one of them. Story-wise, the film is deliberate and understated but beautiful and very poignant, with a lot of nuance in how the characters are developed in compellingly real characterisations and not cardboard stereotypes. It is hard to pick the most moving element or part, because it was mainly how the quiet, nuanced atmosphere, writing and acting was executed and the beauty of it all, basically the little things. It is a very different and sensitively handled slant on same-sex/gay relationships, such as in the attitudes towards the relationship, and that was done in a way that felt real and refreshing, not an easy thing to get right when portrayed on film or television but this is one of the better examples.

There are also strands crucial to the character development, like with the father. That added a lot of emotional weight. The characters are interesting and the central relationship beautifully realised and handled with tact and sensitivity, spark was absolutely there. Are there clichés? Perhaps. Whether that's an issue in film is wholly dependent on how they're written and incorporated, neither issues here. Maybe there could have been more depth to why the change of attitude, agreed, but this only occurred to me after the film finished rather than bothering me while watching and the realisation hit that it was an insignificant nit-pick that wasn't enough to bring the film down.

Here in 'God's Own Country', one couldn't ask for better performances. Not just from the fantastic leading turn of Josh O'Connor, really hope he goes on to great things after this, but also the ever wonderful Gemma Jones, Ian Hart (with some of the best acting he's ever given) and Alec Secareanu in a role not as meaty but just as movingly portrayed.

Overall, one of my favourite films of 2017 and the most moving one. 10/10 Bethany Cox

One of the most powerful films I've seen in years, with fearless and authentic lead performances from Josh O'Connor and Alec Secareanu and beautiful, understated writing and direction from Francis Lee. Lee says more in a wordless scene than many filmmakers do in a whole feature.

Joshua James Richards shoots Yorkshire with a cinematic quality rarely seen in British film and operates his hand-held camera with an empathy and intuitiveness that allows him to capture many astonishingly intimate and truthful moments of performance.

It's these telling and tender moments which make up the film - small gestures that carry huge emotional weight. It is testament to Lee's writing and direction, and the performances of his entire cast, that these small moments (a glance, fingertips touching...) carry such a large emotional weight.

This review does NOT contain spoilers.

How do you review a film that leaves you speechless? I'll try my best for this magnificent film recently shown at the Sydney Film Festival to two sellout screenings.

Rarely does a film do such an amazing job at saying so much with so little script. There were probably only 100 lines of dialog but the film conveyed feelings that would be hard to convey in a 500 page book. The cinematography easily filled the gap as the actors executed their craft to perfection. The movie pulled me in and I was totally mesmerized by the story. It was so genuine that you felt as if you were there with them.

Johnny Saxby (played by Josh O'Connor) is stuck in a life of isolation and debilitating loneliness on a Yorkshire sheep farm. His father Martin (Ian Hart) is sick and no longer able to contribute any meaningful labor to help on the farm. The grandmother (Gemma Jones) does everything she can to care for her ailing son Martin while trying to keep her grandson Johnny from going completely off the rails. When lambing season starts Johnny is incapable of handling the workload on his own. To fill the gap the family hire a short term farmhand (Alex Secareanu) to assist Johnny with the work. A visceral "tug of war" starts immediately between the two men in every area of their lives: physical, emotional, psychological, and sexual. It is indescribable and can only be experienced by watching the film. I've never seen it done so well. It is amazing to see a production unfold where the screenplay, cinematography, acting, and landscape conspire so perfectly to tell a story. This is a movie for any adult - regardless of personal attributes or orientation - and captures what it means to be human.

This film is storytelling unbridled. Hiding nothing, the audience was treated with intellectual respect, and there was not a pandering moment to be seen. Regardless of who or what you are, this film will stir up emotions you had forgotten you even had. I highly recommend this rare and special film.

It has been twelve years since the milestone Brokeback Mountain (2005) demanded that cinema be more honest in depicting the realities of same-sex love. Much has changed since then but most tropes of romance are still linked to heterosexuality. Whatever Brokeback achieved in the Wyoming mountains, God's Own Country (2017) takes to another level in the Pennine Hills of Northern England. It is a measure of social progress that cinema has moved beyond just portraits of 'forbidden love' to a space where it can openly explore rather than confront gay love.

Life on a sheep farm is tough and lonely for Johnny (Josh O'Connor). Since his father's stroke, he runs the farm by himself but all he gets is scowling disapproval from his ageing parents. He vents his anger and frustration in drunken binges and rough furtive sex with other gay men in a village wary of anyone who is different. A handsome Romanian seasonal worker Gheorghe (Alec Secareanu) is hired to help during the lambing season and Johnny's rural racism erupts in verbal taunts. Called a gypsy once too often, Gheorghe confronts him with intense physicality and the relationship changes instantly. While tending the sheep, they spend a few nights in an isolated shelter and their first sexual encounter terrifies and confuses Johnny who has never known tenderness and emotional acceptance. Gheorghe's sensitivity compels Johnny to confront his inner fears and discover his emotional self.

This is a complex film on several levels. The story barely moves forward in this cold, lonely, inhospitable place, with the narrative energy coming entirely from its earthy filming style and intense, authentic characterisation. The camera accentuates the slow pace of life by lingering on empty spaces, small details, and nature's ways. A close-up of a butterfly, misty morning light, the birth of a lamb, panoramas of harsh beauty in frosty air, all take on meanings beyond what we see. The depth and nuance of acting by O'Connor and Secareanu is the film's powerhouse. The silences are long and dialogue sparse, and much is communicated through action. Initially there is little to like about Johnny: we cannot get close to someone who is so distant from himself. Gheorghe is the opposite: intuitive, warm, and empathetic. The chemistry between them progresses from turbulence to deep acceptance and each step of the journey is raw and exposed. Intimacy between males is still a frontier in cinema and this film breaks through.

Like Brokeback, this is a genre-defying, coming of age, drama-rich love story. Today's audiences expect realism in human relationship stories and this film offers a full-frontal exploration of masculine sexuality and emotional self-discovery. This is a love story of universal relevance that transcends the usual clichés of romance. It is brave cinema with cutting-edge honesty.

Absolutely stunning film that is now right up there among my all-time favourites. It's sensual and romantic; and raw and ugly at the same time which is actually quite an accomplishment. The partnership between O'Connor and Secareanu is incredibly effective; the magnificent Ian Hart made me cry and Gemma Jones is amazing as well. Along with a breathttaking scenery and the haunting melodies of A Winged Victory for the Sullen, it's truly a film to remember and cherish.