Carmen Emmi’s directorial debut compellingly portrays the struggles of a closeted gay undercover officer in 1990s America. While LGBTQ+ rights have progressed significantly since that era, queerphobia remains a pervasive issue, particularly within the rigid environment of the police force. Tom Blyth delivers a notable performance as Lucas, a young police officer tasked with the covert operation of using himself as bait to ensnare and apprehend unsuspecting gay men in a local shopping mall. Despite his youth and attractiveness, along with a solid reputation for effectiveness, Lucas grapples with the profound anxiety of concealing his true identity while navigating a world where he must hide in plain sight.

The premise

Debuting at the Sundance Film Festival within the U.S. Dramatic Competition category, this film presents a stark and unvarnished narrative. The cinematography by Ethan Plamer predominantly captures Lucas' expressions as he surveys the faces of unfamiliar individuals in a shopping mall, enticing them into the restroom. At home, he tends to his mother, Marie (Maria Dizzia), while grappling with the aftermath of a breakup, during which he awkwardly confessed to possibly being attracted to men. The routine of his life continues until Lucas encounters Andrew (Russell Tovey), a young man who skillfully evades his advances but leaves behind his contact information. The handwritten note states, “Give me some time to return your call.”

The film begins with a somewhat unsteady and exaggerated introduction. It unfolds through a series of flashbacks from a New Year's Eve gathering, where Carmen Emmi plays with the concepts of time and space, revealing fragments of Lucas' memories through grainy, lo-fi VHS footage. These visceral glimpses of the past are contrasted with the present as Lucas experiences a series of déjà vu moments while pursuing Andrew and his burgeoning feelings for him. Lucas adopts the name Gus, which is his late father's middle name. As their relationship develops, Lucas becomes increasingly eager to learn more about Andrew, perhaps envisioning a shared future together.

What works

While the narrative technique employed in Plainclothes is undeniably engaging, it tends to overextend this approach. The flashbacks serve not only to explore Lucas' memories but also intentionally disrupt the chronological flow of the story. This technique falters during a pivotal confrontation between Lucas and Andrew in the latter part of the film. Despite the narrative's occasional instability due to its own choices, Tom Blyth's central performance is compelling enough to maintain its overall coherence.

Blyth adeptly portrays the profound anxieties that plague Lucas, illustrating how his persistent and overwhelming fear often undermines him. The ambiguous morality of his profession weighs heavily on him, as he constantly frames his actions with an acute awareness of being observed. He receives strong support from Russell Tovey, whose character Andrew is granted a final opportunity to articulate the necessity of not being penalized for pursuing his desires.

Plainclothes stands out as a gritty and well-crafted coming-of-age drama, culminating in a breathtaking and audacious conclusion that is immensely gratifying. The film is concise, thought-provoking, and requires the audience's trust. At times, the barrier between our sense of fulfilment and our identity is none other than ourselves, and understanding this can take time.

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