Sophie Dupuis’ third feature film, “Solo,” lights up the screen, painting a vivid picture of Montreal’s drag scene through Simon’s dynamic performances (played by Théodore Pellerin). Simon, a makeup artist who moonlights as a spectacular drag queen, is the radiant center of the show, bathed in neon lights and performing in eye-catching costumes crafted by his sister, Maude (played by Alice Moreault, but with real-life costuming magic from the talented Cédric Quenneville).
While Simon reigns on the stage, his personal life is a whirlwind of emotions. He longs for romantic love, which he believes he's found when a new performer, Olivier (Félix Maritaud), shows up at the club. Their affair is a passionate rollercoaster fraught with highs and lows. To complicate matters, Simon's mother, who left 15 years ago to pursue her own art as an opera singer in Europe, reappears. Keen for love and acceptance from these two influential figures in his life, Simon navigates a tumultuous emotional path of discovery and self-validation.
Pellerin’s stellar performance forms the dazzling heart of “Solo”. He adeptly portrays Simon’s tender vulnerability, all the while capturing audiences with the raw intensity of his passion. Maritaud’s Olivier is equally memorable, his performance charting the curve of charming affection turning into manipulative arrogance with a measure of unsettling realism.
Dupuis' script skillfully creates a link between Simon’s emotions and his artistry, using his performances to express his inner turmoil. From captivating solo acts to duets with Olivier, and a soul-piercing tribute to his mother, each performance is like a page taken out of Simon's diary. However, the film struggles with its transitions, often cutting abruptly from one scene or emotion to the next, leading to initial disorientation. Despite these abrupt edits, the narrative clarity prevails, and the audience can piece together the emotional evolution of the protagonist.
“Solo” pulsates with an ebb and flow of energy, alternating between the thrilling club atmosphere, quiet home scenes and moments of absolute despair. It is, primarily, an intimate portrait of an artist wrestling with identity, self-worth, and a deep-seated passion for his craft.
While the structure of “Solo” may seem disjointed at times, Dupuis’s direction and the story’s heartfelt respect for the art and culture of drag prevail. Dupuis and Pellerin's collaboration on “Solo” is an intriguing indication of potential, paving the path for what they may bring in the future.
