Théodore Pellerin is a star, and director Sophie Dupuis knows it. In their third film together, the rising Canadian actor is at once magnetic and utterly heartbreaking as Simon, a young gay artist honing a budding career as a drag queen. At night, he transforms into Glory Gore, a glittery vision dressed in exquisite costumes that have been lovingly designed by his sister Maude (Alice Moreault). Off stage, Simon is much less self-assured, despite his swagger. An unexpected visit from his absent mother Claire (Anne-Marie Cadieux), along with a toxic romance with fellow drag performer Olivier (Félix Maritaud), soon throw this sensitive soul into an emotional whirlpool.
Dupuis’s astute writing keenly conveys the paradox of falling for a narcissistic manipulator. At first glance Olivier is a perfect creative and life partner, but soon whittles down Simon’s self-esteem with jabs about the latter’s talent and looks. As the relationship grows more dysfunctional, Dupuis pushes Pellerin to the edge of the frame, a visual correlation of his isolation among his real-life and drag family. Pellerin, moreover, embodies the character’s turmoil with stunning physicality; his quivering gaze betrays a vulnerability that starkly contrasts with his larger-than-life stage persona – and yet, like a boiling frog, he also luxuriates in the attention of his cruel lover.
Performing, here, is a double-edged sword. Even when Simon leaves the nightclub, he is compelled to continue playing the part of the cool, obedient boyfriend. But Solo is far from yet another queer tragedy, making space for the joy of self-expression, rendered through dazzling sequences of thrilling drag performances that range from sexy and political to plain silly. At a time when this art form is increasingly under threat, such representations feel particularly essential and powerful.
• Solo is in UK and Irish cinemas from 19 September.
