Locarno review: Poluotok (2025)
Pardi di Domani
International Competition
Cruising becomes a multifaceted, strange and distant activity in this one-shot short film from Croatia,
from the 78th edition of Locarno
One-shot films often consist of a Steadicam-equipped and confident cameraman. Such is the case of Russian Ark (Alexander Sokurov, 2003) and Victoria (Sebastian Schipper, 2016), among many other movies. In his 19-minute short film Poluotok, 25-year-old Croatian director David Gaso opts for a different approach. His one-shot creation is entirely static, with the camera firmly mounted in one cruising spot in the Croatian woods. All movements take place inside one rigid frame (that’s except for a very brief image in the opening and another one in the credits).
The characters are barely discernible. Viewers are required a very large screen, good definition and eyesight to grasp the detail. Silhouettes cross the screen as the dialogue suggests that people are engaging in activities which could be performed neither in the home nor in the middle of the street. “Do you have a girlfriend?, someone queries, just before someone else interrogates: “do you want me to blow you until you get hard?”. Another voice interrupts the proceedings: “Someone is there”. You can just about make out someone pulling up their trousers and leaving. Constant hustling, chirping, squawking and droning sounds help to craft an atmosphere of danger, chaos or even horror.
The following conversations revolve around regulars smoking, having a friendly chat, someone walking past naked, or someone asking to film the sexual activities and being stopped by a man nervous about having his face exposed. The possibility of a cyclist or children walking past throws a spanner into the hushed homosexual interaction. Professional cruisers such as this humble writer know that these developments are entirely relatable, suggesting that Gaso, who penned the film script himself – has done his research. He has been at the coalface, presumably for purely professional reasons.
While realistic, Poluotok lacks audacity. The unusual static one-shot approach prevents graphic representation, narrative coherence and analytical depth. The unruly, wild, colourful and absurd world of cruising is presented as a dark and forbidding pleasure. Viewers are never invited to witness these exotic species court and copulate. As a result, Poluotok is neither enlightening nor liberating. Instead, it imprisons gay men in an oppressive frame and dark setting. Even the rain, which normally cleanses, helps to save these poor people. They end up trapped and dirty.
Poluotok just premiered in the 78th edition of the Locarno Film Festival.
This piece was written in partnership with DMovies.
