There’s constant discourse about what queer experiences should and shouldn’t be depicted. There is a concerted push to move away from queer stories about trauma and elevate queer joy. However, like with most marginalized communities, it’s important to not forget the pain and trauma inflicted. Depicting it preserves it. 

The AIDS crisis was not all that long ago, but there has always been a concerted push to bury the great tragedy and government failure in the sands of history. Younger generations know less and less about this time in history while our current administration actively works to cut funding for further HIV/AIDS research. 

I’ve already seen Elsinore dismissed as “Oscar bait” or “trauma porn,” but that doesn’t feel fair. Elsinore seeks to depict the darkness and devastation of the AIDS crisis, honoring the time stolen and lives lost. Moreover, though, it manages to not just hold space for joy, but advocate for it as a necessary balm in trying times. And, if the audience reaction at the 62nd Chicago International Film Festival is any indication, the film itself is healing for the community now.

After early success on the silver screen, Scottish actor Ian Charleson’s (Andrew Scott) career has stalled. His crowning achievement seems to be Chariots of Fire (1981) and, according to him, all anyone remembers is the theme music. Restless and frustrated, Charleson aspires to return to the stage. When Daniel Day-Lewis (yes, that Daniel Day-Lewis) exits the role of Hamlet in the National Theatre’s production, Charleson seizes the opportunity to play his dream role. 

Unfortunately, Charleson discovers lesions on his body and learns that his AIDS diagnosis has accelerated. Against the wishes of Dr. Margaret Johnson (Olivia Colman), Charleson endeavors to take on the strenuous role, knowing full well this is his last moment to cement his legacy.

The entire film rests on Scott’s performance, which is nothing short of staggering. He is an actor so utterly in command of his craft, and it shines through in a role that feels tailor-made for him.

Scott is a contemplative actor. Though he may not say it outright, you can feel every feeling bubbling just underneath the surface, be it through his eyes or physicality. As Charleson, Scott makes you feel the inner turmoil of reckoning with his legacy. Initially, it’s the frustration of stagnancy; however, as his health takes a turn, it shifts into an existential battle. Scott allows it to fester until he cannot contain it anymore, and the release is painful and extraordinary to watch.

And we haven’t even gotten to his delivery of Shakespeare.

Scott himself played Hamlet in 2017, earning an Olivier nomination for the work. His rendition of Hamlet’s famous soliloquy went viral, with many citing his choices as refreshing compared to how it’s typically performed. He is just as mesmerizing performing Shakespeare’s words in Elsinore. Not only is he performing it with the expertise of a trained thespian, he is carefully folding in Charleson’s personal connection, crafting a magnetizing dual role. Scott constructs an intricate performance that deserves every award imaginable.

Colman’s turn is quite wonderful as well. She shoulders an immense responsibility and Colman allows you to feel the weight of that. She takes this seriously but it has also worn at her a bit. It makes her moments of lightness all the more powerful.

The performances allow the emotion of the piece to make an effective impact despite the frustrating construction of the film itself. Editor Valerio Bonelli executes some baffling edits that distract and undercut some of the compelling rehearsal scenes. Meanwhile, director Simon Stone can’t help but lean into heavy-handed beats that often accompany this kind of movie. It constantly gets in its own way, never letting itself be as great as its central performance.

Nonetheless, Elsinore sticks the emotional landing, delivering a compelling story about fleeting time and finding a “why” while in darkness. At the very least, it contains one of the most rousing and riveting performances you’re likely to see this year, crafted by someone who understands and values the craft.

Elsinore opens in limited theaters November 20th.

Review Courtesy of Adam Patla 

Feature Image Courtesy of Focus Features via Cinema/Chicago