God's Own Country

What a wonderful and unusual experience, to see a film without knowing anything about it. Before I knew it I was in Yorkshire. The silence was deafening, emotions unspoken. Then, Josh O'Connor - a miraculous actor - I didn't know who the actor was and that helped enormously to get sucked into his world - exterior and interior - and to live his experience fully. Alec Secareanu produces the perfect emotional blow. Roughness and tenderness in a stunning, totally believable performance that, I know will live in my mind forever. They changed me somehow. I was forced to look at something in a different way, without preconceptions. Gemma Jones and Ian Hart. complete this masterpiece that I intend to see again tonight with a group of friends who, like me, don't know the first thing about the film, other that I loved it. Francis Lee I'm joining the chorus with a heartfelt, thank you.

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.

For a Romanian viewer, the presence of Alec Secareanu in a film, who has in its basic themes homosexuality, it is a challenge. for a large public, it is a version of "Brockeback Mountain". for many, its cold beauty, the delicate force of story are the basic virtues. in fact, it is a beautiful film. too complex and too good for be reduced at a precise verdict. a film about solitude, friendship and love. a film about the need to be near the other. seductive for the care for details and realism. a question to public about small, fundamental truth. well acted. and source of a very personal emotion. so, one of films who must see it.

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 wouldn't think that Ang Lee's seminal "Brokeback Mountain" would be ripe for a remake already, but damned if first time feature director Francis Lee hasn't moved the action from the American West to the hills of Yorkshire, England and come up with a comparable film. Recently screened at the 60th Annual San Francisco International Film Festival, "God's Own Country" is the tale of young sheep farmer Johnny Saxby (Josh O'Connor) struggling to keep his family farm going while avoiding coming to terms with his sexuality. Salvation (in many ways) arrives in the form of a Romanian emigrant worker, played by Alec Secareanu.

The film is awaiting a commercial release so a full review isn't possible but let me say that the film is terrifically acted, beautifully shot, occasionally erotic and gut-punchingly emotional. It doesn't skirt away from the realities of the harshness of either farm life or the challenges of living as a gay man in a rural community. Thick accents make the film difficult to understand at times, but a scene between Johnny and his father (Ian Hart) that culminates in two crystal-clear words will make you shudder.

There are some striking similarities to the Lee adaptation of the Annie Proulx story (shirt smelling, again?), but it stands on its own and is, in some ways, an improvement. The ending, in particular, is significantly more uplifting. It also has something to say about the value of immigrants that could stand to be heard in this country.

This is one to look for in a few months at your local independent or art house theater.

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