Worth: $14.00
FilmInk rates movies out of $20 — the score indicates the amount we believe a ticket to the movie to be worth
Cast:
Rafael Albarran Trent Kendrick Pixie Aventura Alexeev Dismuke Torrey Lawrence
Intro:
… a fun ride …
Being stuck in a confined space with an ex-partner has been tried-and-true material for romantic comedies for decades; it’s just that the scenario has been made a bit more plausible in recent years due to… well, you can probably guess.
And, with the writing/producing/directing debut for lead stars Rafael Albarrán and Trent Kendrick, we get a COVID-era depiction of ex-lovers Max (Trent Kendrick) and Rafael (Albarrán), dealing as much with their past relationship as with the emotional paradox of their situation: reconnecting with someone at a time when staying alone was considered healthy medical advice.
The script highlights the importance of community and family during such a bizarre societal moment, interspersing awkward and occasionally-grody grocery shopping and multiple Zoom calls to create suitable space in the inherently isolated frame of the narrative. Kendrick and Albarrán get across their respective attitudes regarding the predicament and their personal position within the Queer community very naturally, and the supporting cast aren’t half-bad either. Michael Vaccaro and Torrey B. Lawrence as the older couple that Max (and later Rafael) is house-sitting for, Ursula Christian and Carola García as the warm and endearing grandmas of the couple, Alexeev Dismuke as the third corner of the main love triangle, Hunter; not an unwelcome face in sight.
The film craft from DP Michael John Madden and editor Shiran Amir sticks to the montage-heavy trappings of the genre, but their contributions are elevated through a combination of winning soundtrack picks and an approach that leans more into earnestly enjoying these moments on-film rather than just cynically repeating them. It even taps into direct Drag Race imagery with its recurring lip-sync moments (executed flawlessly by Rafael in her gorgeous drag get-up), right up to a highly familiar track for the end credits.
It’s the examination of Gay identity in its specifics that earns the film its biggest points. Max, in particular, goes through the wringer here, shown as an out Gay man who, in his own way, is still struggling with getting through those closet doors due to childhood trauma. The initial combativeness between him and the proud enby Rafael establishes a solid foundation to explore the internalised prejudices concerning those who are femme-presenting, even within the community, and the journey it takes to break through that stigma. It fits well with the lockdown setting, since being stuck inside with little more than yourself for company can lead to quite a bit of introspection, if only to alleviate the boredom of the same four walls every day. The emotional breakthroughs that are made are (for the most part) rather standard, but the performances combined with the optimistic presentation still do them justice.
F.L.Y. is rom-com as a lip-sync drag performance. The words themselves are more than a little familiar, but they’re delivered with such energy and glee that they’re given a new life. The fundamentals are kept engaging throughout, especially with the montage-heavy style of presentation, and when it delves into the Gay experience, it speaks emotional truths about what it really means to accept and love yourself. Whether it’s serving up domestic awkwardness or Tiger King realness, it’s a fun ride and a sign that Rafael Albarrán and Trent Kendrick could be on the cusp of something special as filmmakers.
