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First, the Recap:
Clashing. Dissimilar. Incompatible. We so often look for everything to fit into some preconceived pattern, within an established paradigm, sadly the only factors dictating it all founded on what the world at large seems to deem “the standard” or “the norm”. And when things just don’t match, it’s dismissed as “wrong”. While there may be instances when this IS a valid point of view to follow, what occurs when it is applied to one of the ficklest of situations–matters of the heart? In South London, Lewis (Keeran Anwar Blessie) finds himself in a not-so-immediately-comfortable circumstance as he runs an “errand” for a friend. Arriving at his destination, he encounters Daniel (Korey Ryan) and soon, surprisingly, discovers there’s more than just the required transaction unfolding between them.
Next, my Mind:
It’s a magnificently subtle yet undeniably profound and beautifully affecting study in nuance, conjecture, human attraction, unexpectedly shared perspectives, equally unforeseen perceptions, and the simple joys of newfound infatuation all rolled into one concisely executed, BAFTA-qualifying short film effort which arrives courtesy of writer/director/producer/executive producer Keeran Anwar Blessie, producer Benjamin Jacob Smith, and assistant producer Ashley Byam. As this critic has made clear over the years and a multitude of times now, films centered around the LGBTQ+ subject matter as its core foundation aren’t generally my cup of proverbial tea. HOWEVER, once MORE (as has honestly happened FAR more than I ever would have anticipated, GLADLY being transparent), the sheer wonder of cinematic artistry on display trumps this thanks to excellent writing and just how the film paints a portrait of LOVE’S first emergence so potently, regardless of the orientations in play, reminding me of another epic effort that took this path, “Sisak“.
Stirring in its understatement while wholly intense in its strongly presented, smoothly flowing, underlying currents of genuine captivation being explored, the narrative whisks us with unabashed purpose into a brush with at-first-veiled then understandably excited revelation as two young men from the opposite sides of the track not only learn about just how NON-existent their supposed differences might be, but that the notion of sudden enchantment doesn’t recognize class, upbringing, lifestyle, or what things appear to be on the surface. Rather, we see all the thematic forays into the initial uncertainty, awkwardness, and hesitations in connecting with someone which then build into trust, playfulness, and most assuredly stepping up and out, demonstrating a willingness to take a chance, and just knowing that the reward for doing that is one that could still be as elusive and rare in its appearance and depth as the film’s titular title suggests, a complete risk, but worth the leap, AND making its sighting and experience all the more fulfilling.
Therefore, that all said, it makes the film’s finale impactful, compelling, persuasive, touching, and definitively thought provoking, as it should, for this is definitely an example of absolute storytelling finesse to be able to say so much with such quietly conveyed yet deeply dramatic flair. Also as hinted at above, what this critic adores about the effort is that these themes TRANSCEND orientation and speak to ALL of us when it comes to the necessary yet too often ignored truth that you need to look beyond the surface when it comes to seeking REAL happiness in love, and perhaps entertain the fact that it may not remotely look like what you thought it would, but that doesn’t negate the opportunity for utter happiness beyond what you DID think you expected or were desiring. The imagery here likewise carries such an innate, emotive fervency and visual strength that truly enhances the narrative as it unfolds, emphasizing the cornerstone intents of the story and making it so overtly accessible, relatable, and grounded.
Blessie more than effectively steps out from behind the camera and makes his presence known in front of it through his performance as Lewis, a charming, mildly flamboyant but mainly unassuming-looking man who’s found himself in what he believes could be a slight predicament coming to South London as a favor for an undisclosed friend to obtain some–party favors. What he isn’t aware of is just how altered his life will become upon meeting the supplier of said favors who ends up being more than Lewis would believe, much less sense any form of allurement towards. Yet, as Lewis interacts and journeys through this slightly, but innocently, coerced series of moments, it causes him to relish it all and gain confidence in what he now understands about Daniel and the level of connection they’ve experienced. Again, it’s so perfectly muted yet overflows with genuine passion, and Blessie exudes this and presents it so deftly throughout, leaving an indelible mark on our minds and hearts through his performance.
Ryan is also a picture of control, poise, and excellently subdued yet indisputable dramatic vigor through his role here as Daniel, a man who, on the exterior and based on what he seems to do for a living, is the polar opposite of his newest client, Lewis, who comes to pay for and collect the substance needed for a soiree. Running a tight ship and keeping a low profile as his overall criminality requires, he doesn’t at all predict the effect Lewis will have on him until they’re about to conclude their transaction and Lewis is delayed in leaving the premises. Inviting Lewis to hang out while waiting for his ride, Daniel ends up revealing a side of himself not immediately evident, and his own draw towards Lewis begins to appear, to both men’s disbelief then mutually shared, even if still somewhat restrained, exhilaration. Like Blessie, Ryan so faultlessly plays to type yet then totally upends every notion you’d have about the character, and it’s a marvelous performance that emits volumes of emotional power within its toned-down delivery.
Primary supporting appearances arrive first via Matthew Faucher as Daniel’s right hand dealer Theo, whose quick appearances actually make a statement about the entire situation in a larger way than would be obvious (at least in my opinion), Harry Bradley and Rachael Neary as Jasper and Fliss, two more of Daniel’s “clients” who show up in the midst of everything else occurring, and Benjamin Jacob Smith as a random guy we see in brief. So, in total, “A Fox In The Night” wears its LGBTQ+ pride on its sleeve, yet does so in the most unpretentious manner possible, keeping true to its own truths while rising above it to share its messages about appeal, magnetism, and true adoration that are more than applicable to anyone and everyone who’s ever had those first pangs of love towards another and the accompanying euphoria, mild of blatant, of what could be. May our experiences in finding this NOT be quite as evasive and uncommon as a fox.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
