The State of Us
· news
The Unspoken Truths of Masculinity in Crisis
The Edinburgh Film Festival’s latest competition title, The State of Us, is a gut-wrenching British indie that tackles grief, nihilism, and platonic love head-on. Directors Ollie Gardner and Jake Harvey are unafraid to explore the complexities of male friendships, probing the often-unspoken truths about masculinity in crisis.
Gardner’s assertion that “masculinity and toxic masculinity are synonymous with each other now” underscores the societal pressures that have warped traditional notions of manhood. The public discourse has become increasingly polarized, with young boys being fed a toxic diet of machismo on social media. The State of Us seeks to break free from this narrative by offering a more nuanced exploration of what it means to be a man in the 21st century.
The film’s protagonist, Frankie, played by Samuel Bottomley, is a lovable tearaway struggling to come to terms with the inevitability of losing his best friend Taylor (Callum Scott Howells) to cancer. Their bond is forged through laughter and camaraderie, but beneath the surface lies a deep-seated anxiety about their respective futures. Harvey’s screenplay draws heavily from his own experiences with loss, capturing this dichotomy with precision.
The State of Us sets itself apart by refusing to shy away from the darkness. Rather than sugarcoating the pain and grief that accompany male friendships, Gardner and Harvey opt for a more unflinching approach, creating a film that feels both deeply personal and universally relatable.
Gardner and Harvey’s own experiences as rugby-playing university students offer insight into the macho world they sought to subvert. Their diverse backgrounds in theater (Gardner) and TV (Harvey) suggest a willingness to experiment with non-traditional storytelling methods, which pays off in spades.
The film’s use of movement and physicality to convey emotion is a bold departure from more conventional narrative structures. By eschewing dialogue in favor of pantomime, Gardner and Harvey create a sense of intimacy that feels almost voyeuristic. This approach also speaks to the way men often struggle to articulate their feelings, opting instead for a mask of bravado.
The dedication of The State of Us to a childhood friend lost to cancer is a poignant reminder of the film’s roots in personal experience. Harvey’s decision to base his character on this individual serves as a powerful testament to the enduring bonds forged between young men. These relationships are not always easy to navigate, but they offer a glimpse into the complexities of masculinity that Gardner and Harvey seek to explore.
The success of The State of Us will likely be measured by its ability to spark meaningful conversations about male friendships and the pressures that come with them. Whether this film can shift the cultural narrative around masculinity remains to be seen, but one thing is certain: The State of Us has already made a significant impact on the festival circuit.
As British independent film financing continues to grapple with its own set of challenges, Gardner and Harvey’s perseverance in the face of adversity serves as a beacon of hope. Their willingness to take risks and push boundaries is a testament to the power of filmmaking to challenge and inspire.
The State of Us raises essential questions about masculinity: Does it offer a glimmer of hope for a more nuanced understanding of male relationships, or is it merely another iteration of the same tired tropes? These questions will linger long after the credits roll.
Reader Views
- RJReporter J. Avery · staff reporter
While _The State of Us_ is undeniably a gut-wrenching portrayal of male grief and friendship, one cannot help but wonder how its unflinching approach will translate beyond art-house circles. Will it spark meaningful conversations about toxic masculinity, or will it simply serve as a confessional for those already privy to the struggles? Moreover, what of the broader social context? The film's depiction of an isolated male friendship neglects the intersections of class and privilege that shape modern British society – a glaring omission in its otherwise nuanced exploration.
- ADAnalyst D. Park · policy analyst
The Edinburgh Film Festival's latest entry tackles the complexities of male friendships with refreshing candor. While _The State of Us_ excels in capturing the existential angst and grief inherent to such relationships, its critique of toxic masculinity might benefit from a more nuanced exploration of institutional structures that perpetuate these problems. After all, redefining traditional notions of manhood requires more than just individual transformations – it demands systemic changes that address the underlying power dynamics driving our societal expectations.
- CMColumnist M. Reid · opinion columnist
The film's unflinching portrayal of male friendships is commendable, but let's not forget that this crisis of masculinity isn't just about individual relationships – it's also a symptom of broader societal failures. The article glosses over the economic realities that contribute to toxic masculinity: stagnant wages, shrinking social safety nets, and the pressure to provide for families in an era of unaffordable housing. Without addressing these underlying issues, we risk reducing the crisis of masculinity to a series of feel-good films about emotional expression, rather than confronting the structural barriers that perpetuate it.