While attending a recent screening of 'Keep the Lights On', director Ira Sachs indicated that the title of his new film about a gay romance spanning approximately ten years, refers to transparency, or lack thereof. An additional theme he revealed is that the characters are trapped in a masochistic relationship.
The film begins as we're introduced to Erik, a documentary filmmaker from Denmark. He's basically supported by his father (much to the chagrin of his sister) who criticizes him for not having a regular job. Erik has just broken up with his lover and compulsively seeks out physical encounters with other gay men, using phone hot-lines (the film begins in 1998, at the time when phone hot-lines were beginning to be phased out, due to the rising popularity of the internet).
Mr. Sachs holds little back in depicting the sexual encounters Erik has with strangers as well as his new found lover, Paul, a literary agent. They're not completely explicit but there's a raw immediacy, which gives the film an authentic verisimilitude--a peek at gay life that outsiders rarely are privy to.
Sachs wisely chronicles the dichotomy of Erik's personality. On one hand, he's almost irrational in his obsession with Paul, ignoring the obvious reality that Paul is a drug addict and is rapidly going downhill. Erik also keeps a lot of things to himself and there is a lack of communication between the two lovers (that lack of transparency that Sachs alluded to during the recent screening I attended). On the plus side, Erik is deeply concerned about Paul's welfare and is instrumental in getting him into an inpatient program.
While Paul has to struggle with his demons, Erik gradually makes good on his promise to become a successful documentary filmmaker. He wins a 'Teddy' Award in Berlin, after garnering acclaim for his documentary about a gay artist from the 40s and 50s, who Erik in effect, rescues from obscurity.
The tension in the plot is bound up in guessing whether Paul is going to make it or not. After Paul returns from rehab, there's a great scene where he disappears for a number of days, and Erik and his friends have no idea where he is. When Erik finally finds him at a hotel, it's obvious that he's had a bad relapse. Erik hardly seems surprised when a young man comes over to have sex with Paul. Instead of getting angry and feeling betrayed, he accepts the fact that Paul has relapsed and holds his hand while Paul has casual sex with the stranger.
'Keep the Lights On' slows down considerably in the third act, as Paul seemingly is much better after a few years and is now able to work. Erik's attitude has changed toward Paul, who has kept away from him for about a year. When Paul gives him an ultimatum--either break up or find a new home and live together--Erik, perhaps now realizing that their relationship has run its course, chooses the option of dissolution.
Erik's obsessive love for Paul does eventually become tiresome and of course the point is that Erik must go through a process of self-actualization before he realizes he's been in a masochistic relationship. Nonetheless, Paul's breakdown and Erik's efforts to help him, is the best part of the picture. And yes we also want to know what the ultimate disposition is of their relationship.
Director Sachs' portrait of Erik is of a gay man who is not isolated from the rest of society. He has female friends and well as straight male friends, and despite flights of sexual compulsivity, Erik comes off as someone who is pretty much part of the mainstream. In that respect, Mr. Sachs ably argues that gay people should not be considered 'outsiders', but ordinary people, who are no different than the average middle class straight person.
A good part of 'Keep the Lights On' is strangely compelling. Will Paul overcome his addiction? Can Erik remain in the relationship, despite Paul's chequered history? Erik's 'love at any cost' obsession with Paul is necessary to show his self-destructiveness but by the same token, remains unexplained and goes on for a little too long. Some judicious editing, to make the film slightly shorter, would have helped. Nonetheless, this is a film that is definitely worth a look, not only for a few nice twists and turns in the plot, but the particularly strong performances from Thure Lindhardt and Zachary Booth, as the gay lovers, whose relationship reaches its nadir and then unceremoniously, fizzles out!
The film begins as we're introduced to Erik, a documentary filmmaker from Denmark. He's basically supported by his father (much to the chagrin of his sister) who criticizes him for not having a regular job. Erik has just broken up with his lover and compulsively seeks out physical encounters with other gay men, using phone hot-lines (the film begins in 1998, at the time when phone hot-lines were beginning to be phased out, due to the rising popularity of the internet).
Mr. Sachs holds little back in depicting the sexual encounters Erik has with strangers as well as his new found lover, Paul, a literary agent. They're not completely explicit but there's a raw immediacy, which gives the film an authentic verisimilitude--a peek at gay life that outsiders rarely are privy to.
Sachs wisely chronicles the dichotomy of Erik's personality. On one hand, he's almost irrational in his obsession with Paul, ignoring the obvious reality that Paul is a drug addict and is rapidly going downhill. Erik also keeps a lot of things to himself and there is a lack of communication between the two lovers (that lack of transparency that Sachs alluded to during the recent screening I attended). On the plus side, Erik is deeply concerned about Paul's welfare and is instrumental in getting him into an inpatient program.
While Paul has to struggle with his demons, Erik gradually makes good on his promise to become a successful documentary filmmaker. He wins a 'Teddy' Award in Berlin, after garnering acclaim for his documentary about a gay artist from the 40s and 50s, who Erik in effect, rescues from obscurity.
The tension in the plot is bound up in guessing whether Paul is going to make it or not. After Paul returns from rehab, there's a great scene where he disappears for a number of days, and Erik and his friends have no idea where he is. When Erik finally finds him at a hotel, it's obvious that he's had a bad relapse. Erik hardly seems surprised when a young man comes over to have sex with Paul. Instead of getting angry and feeling betrayed, he accepts the fact that Paul has relapsed and holds his hand while Paul has casual sex with the stranger.
'Keep the Lights On' slows down considerably in the third act, as Paul seemingly is much better after a few years and is now able to work. Erik's attitude has changed toward Paul, who has kept away from him for about a year. When Paul gives him an ultimatum--either break up or find a new home and live together--Erik, perhaps now realizing that their relationship has run its course, chooses the option of dissolution.
Erik's obsessive love for Paul does eventually become tiresome and of course the point is that Erik must go through a process of self-actualization before he realizes he's been in a masochistic relationship. Nonetheless, Paul's breakdown and Erik's efforts to help him, is the best part of the picture. And yes we also want to know what the ultimate disposition is of their relationship.
Director Sachs' portrait of Erik is of a gay man who is not isolated from the rest of society. He has female friends and well as straight male friends, and despite flights of sexual compulsivity, Erik comes off as someone who is pretty much part of the mainstream. In that respect, Mr. Sachs ably argues that gay people should not be considered 'outsiders', but ordinary people, who are no different than the average middle class straight person.
A good part of 'Keep the Lights On' is strangely compelling. Will Paul overcome his addiction? Can Erik remain in the relationship, despite Paul's chequered history? Erik's 'love at any cost' obsession with Paul is necessary to show his self-destructiveness but by the same token, remains unexplained and goes on for a little too long. Some judicious editing, to make the film slightly shorter, would have helped. Nonetheless, this is a film that is definitely worth a look, not only for a few nice twists and turns in the plot, but the particularly strong performances from Thure Lindhardt and Zachary Booth, as the gay lovers, whose relationship reaches its nadir and then unceremoniously, fizzles out!