ON THE SEA

It's not the first time we've seen this story. In fact, the community condemnation of a married man following his supressed emotions for someone of the same gender was probably best explored in Ang Lee's Oscar-winning 'Brokeback Mountain' (2005). It's also told far more expertly than 'On the Sea'. While writer/director Helen Walsh ('The Violators') offers us a new setting and a more claustrophobic perspective, perhaps its biggest issue is the script's pacing. The setup drags on far longer than necessary, and while ample time is offered to dive into Jack and Daniel's relationship, the film's conclusion feels remarkably rushed; almost unfinished. It leaves you feeling unsatisfied and unfulfilled, without the emotional bookend the story deserves.

Perhaps that's also because the story tries to layer on too much tragedy. Already, we're trying to manage the idea of Jack struggling to come to terms with his sexual identity in a small, conservative town, and the ramifications this has on him personally, as well as his family - particularly Maggie. Woven into the film's latter chapters is another dilemma to navigate, the weight of which appears too heavy for the story to bear. It complicates an already complex idea, distracting from Jack's struggle with his sexuality and causing us to lose focus on the motivations of less central characters, such as Maggie and Tom.

Where the film does shine is in its chemistry between its two main characters. Watching the slow growth of spark between Jack and Daniel from first meeting to frequent interaction feels natural, and that's probably largely attributable to the acting by Barry Ward and Lorne MacFadyen. What could at first be mistaken for sexual passion soon clearly turns to genuine affection, as the characters struggle to navigate the situation they have found themselves in. Daniel's sexuality becomes his reputation throughout the village, and the judgement is fierce and hateful. For Jack to be associated with him would cause suspicion, and this causes friction between the two. The highlights, though rare, are the moments of unrestrained joy between the men: taking the boat to deserted waters, swimming freely together, and an unrestrained caress of the other's hair.

It's also a handsomely shot film by cinematographer Sam Goldie (TV's 'Youth' & 'Comrade Detective'). The coastal location captured with monstrous waves crashing into cliffs making the village appear almost as inhospitable as those living within it. That's mirrored in the picture-perfect calm blue oceans and skies as Jack and Daniel take the fishing boat out to spend time together; stunning aerials and shots skimming along the water reflect their freedom there. While the handheld camerawork is sometimes a little heavy-handed, the Welsh pastels - particularly at dawn and dusk - redeem the fishing scenes.

There's little that's unique about 'On the Sea', especially at a time when we've been blessed with so many other exceptional LGBTQIA+ films such as 'La Bola Negra' and 'Queer'. But for heartfelt performances of a burgeoning love and a reminder of the continuing condemnation still experienced by parts of the queer community, it's worth your time.