Leviticus Review: A Sad, Frightening Conversion-Therapy Horror From Australia
While the happy and only barely tortured gay romance of Heated Rivalry sweeps the nation, nay the world, it might be instructive, if depressing, to remind ourselves that there are many young queer people who have a much harder time realizing their desires. The new film Leviticus, from director Adrian Chiarella, is a solemn and…
While the happy and only barely tortured gay romance of Heated Rivalry sweeps the nation, nay the world, it might be instructive, if depressing, to remind ourselves that there are many young queer people who have a much harder time realizing their desires. The new film Leviticus, from director Adrian Chiarella, is a solemn and frightening acknowledgment of that reality, albeit one allegorized into supernatural horror.
The film takes place in a dreary town in Victoria, Australia, a drab industrial backwater whose people — or, at least some of whom — flock to religion to give their lives the brightness of hope and higher purpose. Teenager Niam (Joe Bird) has just moved to town with his mum (a deceptively sinister Mia Wasikowska) but already yearns to escape it. He finds some deliverance, of the emotional kind anyway, in a classmate, Ryan (Stacy Clausen), a handsome ruffian with whom Niam shares a special bond. They have found love, or at least affectionate lust, in a hopeless place, just as many kids have done before them, since time immemorial.
Leviticus
The Bottom Line
A stylish, urgent allegory.
Venue: Sundance Film Festival (Midnight)
Cast: Joe Bird, Stacy Clausen, Mia Wasikowska
Director and writer: Adrian Chiarella
1 hour 26 minutes
Chief on the film’s mind is what happens when the relative innocence of that blush of first infatuation — neither boy seems particularly troubled by his proclivity — is spoiled by outside forces, like family and the church. As a hardcore religious right gains traction around the globe, Leviticus challenges the notion, made too easy to accept by the Heartstoppers and Love, Simons of the world, that coming out isn’t really such a big deal anymore. It is still — perhaps increasingly so, in this moment of backslide — monumental and dangerous for plenty of young people, often plunging their lives into horror.
Chiarella is particularly interested in the abuses of conversion therapy, which hideously imagines that something innate can be excised or, at least, wholly ignored. It is a form of torture, one whose effects can cause lingering and sometimes fatal harm. Such trauma is made manifest in Leviticus, in which these afflicted kids are stalked by a sinister force that, cruelly and perversely, takes the form of the person they most want in the world.
It’s a grim and clever conceit, even if its rules don’t always make total sense. What the device does most effectively is force the audience to think about the real-world analog of these characters’ psychic (and physical) pain: the many young people who have been told that their sexual and romantic desire will destroy them, that a fundamental human attraction is something they must flee from in mortal terror. How heartbreaking, and how vile, that any adult claiming compassion would seek to imbue a child with that extreme allergy to their own self.
Leviticus has a enough gore and jumpy moments to qualify it as a proper horror film. But its true scariness is of the forlorn kind, as Naim and Ryan grow distrustful of each other, not sure if the needful, seductive person they see before them is real or a menacing specter who means to kill them. That doleful eeriness is the film’s best asset, adding a tragic queer love story to the template of youth-curse films like It Follows and Talk to Me. Both Bird and Clausen play this mounting nightmare with the appropriate ache and desperation, elevating the emotional tenor of Chiarella’s sad, frequently bleak film. Sure, Clausen is pretty enough that one wonders why he doesn’t just monetize his Instagram and flee to Sydney, but otherwise both he and Bird appropriately register as two small-towners trapped in a toxic community, starkly rendered in Chiarella’s drab austerity.
Though his metaphors are awfully on the nose, Chiarella convincingly insists on their power. He has made his argumentative trick work quite well, even if the movie’s messaging sometimes crosses into the obvious or didactic. And anyway, maybe we are at a time, yet again, when such simple lessons bear repeating, when it is not lame or dated to highlight the terrible violations of the most basic kind of homophobia.
There is also, perhaps, a slightly radical suggestion teased out toward the end of Chiarella’s film, one that harkens back to so many narratives of the past: Those stories told of uncles and sons and countless others who fled their oppression in search of something they knew to be true and decent, waiting for them in distant, glittering cities. Leviticus has the sturdy nerve and conviction to plainly state that sometimes home and family are irredeemable and worth abandoning. It is not so concerned with changing hearts and minds, but with saving lives.
