This brilliant meditation on the consuming, devastating nature of obsession is what Visconti's Death in Venice wishes it was. From the breathtaking, seductive opening shot, it is clear we're being treated to something special. Hermanus immediately attaches us to the young, alluring Christian, whom the older, married François is entranced by. Quiet scenes where François seems to simply be lost in thought suggest how much his mind is wrapped around Christian. Painfully real, impossibly uncomfortable scenes play out where we see just how strong his desire is, leading to a shocking rape that somehow seems inevitable.
Frank about its sexual content and the disturbing main character, Hermanus has an incredible knack for giving his shots a true point of view. Much of the film is from François' perspective as he follows Christian or cruises others. It's certainly one of the best photographed films of the year, especially when you consider the intricacy of the long shots, but Hermanus seems to know always where the camera needs to be. His film's sexy, but sick tone is rather intoxicating.
Though it seems like Hermanus is entering uncomfortably homophobic territory where gay men are portrayed as secretive, volatile stalkers, he caps the film off with a truly perfect final scene. In a restaurant alone, François is staking out his next object of affection. He sets his sight on a handsome young man sitting alone who is later joined by his boyfriend. They self-consciously kiss, giving a sense that even their intimacy is guarded. But François, set to pay off Christian so he can absolve himself of any guilt over his actions, has a remarkable, but subtle aha moment. Many of Beauty's mostly wordless scenes are just about as brilliant.
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