To Nowhere Review Edgy Drama Of Queer Desire Is As Raw As A Fresh Wound
There are more feature films about teenage girls in love or very young women, or at least having strange cravings for the first time, than before, although less than about young people. Some of them were very good - for example, see Cast Away, But I'm a Cheerleader, or Photo of a Lady on Fire. But some of the uncorrected examples have a positive quality, as if they have an educational mission and seek to provide positive role models. "To Nowhere", on the other hand, feels deeply personal, bleeding like a fresh wound, and completely sugar-free.
Shot on a modest budget for a few songs and fantastic props for a fetish shop, director Sean Astor-Lewis' debut film follows feminist Tulip (Lilith Minor) and her best friend Finn (actress, Danish actress Josephine Glas). - who may or may not be transgender - in one day in a bleak corner of southwest London. They wake up in Tulip's apartment, where she is constantly angry at her recently deceased father (Michael Warburton) and her confused uncle Stanley (Orlando Seeley). When Finn Stanley appears on the toothbrush, Tulip starts arguing with his father. Even though it's a Thursday in the fall or winter, it's not a school or a university, and instead they take back the wine stolen from Tulip's crazy grandmother (Jane Wood).
Gradually, it becomes clear that both children are approaching alcoholism and are seeking oblivion to ease the pain of loss, or, in Finn's case, other recent traumas that are poorly disclosed: domestic violence, perhaps, and that there is something in between. and Stanley. , the prompt after marking the end of the toothbrush opened. Either way, the two are very evil, but also wild, judging by the increasingly tumultuous mixture of intimacy, violence, and mind games between them as the film progresses. After all, it looks like the beginning and end of something, and not necessarily in a good way.
Astaire-Lewis is superb as both leads, whose dialogue is spontaneous, their chemistry laid-back and as natural as sharing a bathroom with your best friend. The film may not dedicate much time to Stanley, but Cill's performance is compelling, and the tense final scene with him and the two teenagers is a big part of the drama, like an electric eel slithering.
