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That includes the casting of two older straight men as two older, bordering on elderly, gay men – in itself as specific a choice as casting choices can be. Effective artificeĮverything about Love Is Strange is “staged,” and wonderfully so.
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Ira Sachs’ movie is all that, in addition to being beautiful in every way that a film can be. Lastly, Love Is Strange is about a bit more: Joy, grief, family dynamics, youth culture, straight culture, gay culture. It’s also about the vicissitudes of our universal human condition, particularly those that force apart a newly married gay couple after 35 years of being publicly together (and of being loved for their public togetherness).Īpes Stronger Than Humans: Conan + Ford-Craig Combo Take a Beating Instead, it’s about being old and in love and gay.Īnd it’s about gay marriage.
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Love Is Strange isn’t just about being old and in love, which is plenty of fodder for a well-made film. I’m fairly sure most people – certainly those who’ve suffered from the many degradations of that “human condition” – will agree. Without hyperbole, I tell you that Love Is Strange is the stuff of Jean-Luc Godard ( Notre Musique and In Praise of Love), Vittorio De Sica ( Umberto D.), Woody Allen ( Crimes and Misdemeanors), and Ingmar Bergman’s reflection on the ironic circumstances we find ourselves in as we age (in his ever resonant Wild Strawberries).Ĭlearly, Bergman is a deeply planted influence on Sachs. I love what it has to say and I love that it’s something seldom said. But despite its willingness to gild the lily for the love of aesthetic, ethereal beauty in all its forms, Love Is Strange is also a film that reaches for the truth – the deepest truths of what we often call “the human condition.”įor all these reasons I love Ira Sachs’ movie as much as it wishes we would love each other. Love Is Strange is beautiful in every way that a film can be beautiful, and unabashedly so.