‘Close to You’: Elliot Page Carries the Emotional Weight of Sparse Drama About Identity

Alci Rengifo

A film like “Close to You” almost needs to be approached as a personal statement. It is directed by Dominic Savage but every frame and moment is defined by the journey of its star, Elliot Page. The actor’s coming out as a trans man has contributed to important strides in representation. “Close to You” almost feels like it was done with a sense of duty by Page, in how it stands more as a statement on acceptance. What it has to say, combined with Page’s sincere performance, almost helps overcome this film’s shortcomings. Page is surrounded by a fine ensemble, hitting some high notes, but in a rather sparse narrative.

Sam (played by Page) lives in a Toronto apartment with a roommate, beginning this particular day with the stress of going back home to his family near Lake Ontario for his father’s birthday. He has been away five years and while his parents pose as progressive and accepting, Sam senses his identity as trans has left an unspoken, unsettled atmosphere. During the train ride to Lake Ontario, Sam makes his first reconnection with the past when he sees Katherine (Hillary Baack), his best friend from high school, now married with kids. Already, cheerful greetings lead to a more tense confession from Katherine about the lingering hurt, from Sam leaving to other, murkier reasons. At home, Sam’s family is apparently quite accepting. Parents Miriam (Wendy Crewson) and Jim (Peter Outerbridge) are careful about pronouns. Siblings Kate (Janet Porter) and Megan (Alex Paxton-Beesley) offer nothing but warmth and hugs. But is everything fine?

“Close to You” is another domestic drama driven by moments. Page co-wrote the screenplay with Savage, following a very simple structure where the story arc covers one day, in which not much “happens.” What we are meant to follow more closely are Sam’s interactions with his family in this very suburban, middle class setting. It is really a series of particular conversations, some have the promise of loaded tension. A chat with Kate starts off tensely enough over Sam having left instead of seeking help within the clan. These characters are meant to be the poster family for the modern liberal. Kate has the perfect partner, Stephen (Andrew Bushell), while Miriam openly chastises herself when she accidentally calls Sam a “her.” Jim, who seems like a bookish, academic sort, is simply happy Sam is back after having endured a difficult youth. The dialogue hints at Jim having been worried about Sam potentially trying to commit suicide.

It is all kept so vague. Not much of what this family is about is revealed. The real unease begins when Megan’s husband, Paul (David Reale), starts showing clear signs of being transphobic. Eventually, his insulting remarks hidden under subtle questions are too much for Sam, who explodes. Such moments are strong but also an example of this flm’s curious style. Sam is absolutely right in demanding to be treated like a human being. No one has the right to shame him over simply existing. But what’s driving Paul? If the family is so caring and loving, didn’t anyone see this powder keg in the making? Unless the idea is to express the clueless nature of those who think they are well-meaning while having serious blind spots. The dialogue also takes on the feel of preaching to the choir, with statements made so on the nose it could be a training video. 

Another half-formed aspect of this story involves Katherine. This should be the story’s most intriguing section because it is implied the two were not only best friends, but shared some kind of hidden attraction. Much is hinted at, yet we never learn more about Katherine, nor is time given to explore her deeper bond with Sam. There are moving moments where Sam and Katherine express how, as teenagers, they made each other feel genuinely free. Like the best friendships, they were truly comfortable with one anther. Katherine is the only person who doesn’t seem to blink twice when she first sees Sam. She will always genuinely love him. If the whole film had been about them, it could have been truly noteworthy.

As the first lead feature for Elliot Page since coming out, “Close to You” confirms his talent has grown and he can carry wrenching moments convincingly.  He rises above the plot by creating the feeling that we are getting to know him as an audience. Savage could have tried to go for a richer palette in the aesthetic of the movie, which is always overcast and shot in grey tones by cinematographer Catherine Lutes. The score by Savage and Oliver Coates is eternally mournful. While audiences are surely clamoring for shorter running times, the 1 hour and 40 minutes here feels like too little. These characters should have been allowed to say more, express more, and truly let us into the darker corners of this family. Clearly, Sam left for a reason and it is the “perfect” families that tend to hide the most scarring truths. “Close to You” has a cast that, in their performances, touches on the implications of this story, which are moving. We are just left with the feeling that there is much more to it.

“Close to You” releases Aug. 16 in select theaters.