The first feature film directed by <\/span>Carmen Emmi<\/strong><\/a>\u00a0addresses exactly this issue: set in the middle of the Nineties, <\/span>Plainclothes<\/b><\/a> tells the story of Lucas (<\/span>Tom Blyth<\/b><\/a>), an undercover cop whose task is to arrest gay men he exposes in a public space. Everything changes for the law enforcer when he meets Andrew (<\/span>Russell Tovey<\/b><\/a>) and falls in love with him. This feeling, mixed with the necessity to deal with his inner nature, pushes Lucas in a dramatic situation, since he has hidden to his family something that is now becoming impossible to deny.\u00a0<\/span><\/p>\n<\/ins>\n It doesn\u2019t start really well, <\/span>Plainclothes<\/b>: the setting at the beginning lacks specificity, turning quite incomprehensible in the first few minutes. The director uses lo-fi digital footage and unsettling editing that mixes different story timelines in order to immerse the viewer in Lucas\u2019 twisted world. At the beginning of Plainclothes this idea doesn\u2019t really work, it is on the contrary quite confusing. Once a clearer path is established about the main plot and the relationship between the characters, the movie becomes way more linear and consequently interesting.<\/span><\/p>\n @Courtesy of Sundance Institute | photo by Ethan Palme<\/p>\n The ongoing relationship between Lucas and Andrew is developed with sincerity and intimacy, while the environment that forces this love-story to be hidden is depicted with the necessary realism. Emmi keeps indulging a little too much in mixing flashbacks with the principal timeline, but in the second part of the movie it pays off when it\u2019s about putting together the protagonist\u2019s narrative arc. The heart and soul of Plainclothes is of course Lucas, portrayed by <\/span>Tom Blyth<\/b> with an intensity that explodes inside the character\u2019s mind and soul, forcing him to stand still, paralyzed by the fear of judgment. <\/span><\/p>\n The actor delivers an emotional performance that is nothing but admirable, never going too far or over the top even in the most dramatic scenes. Next to him <\/span>Russell Tovey<\/b> as Andrew works with grace to the creation of a more mature, experienced, even subtle character. <\/span>Maria Dizzia<\/b><\/a> also shines in the role of Lucas\u2019 mother, Marie, an kind-hearted woman who is part of a microcosm where prejudice and homophobia rule the everyday life, whether you are aware of it or not.<\/span><\/p>\n Plainclothes<\/b> is a psychological puzzle that benefits from the powerful performance of his main actor. The screenwriter and director <\/span>Carmen Emmi<\/b> develops the aesthetic of his first movie through a couple of good ideas, especially in the script, that he sometimes relies too heavily on, creating a sense of confusion that in the first part of the movie doesn\u2019t help the audience to connect with the story. <\/span><\/p>\n Once this obstacle has been overcome, <\/span>Plainclothes<\/b> proves to be a solid drama which has the courage to address a moment in recent American history that probably should not be that celebrated. <\/span>Carmen Emmi<\/b> proves to be an interesting new voice inside independent cinema, and where he lacks the experience of being able to fully \u201ccontrol\u201d that same voice, nonetheless his message comes out loud and moving. As a first-feature, Plainclothes is quite a remarkable achievement.\u00a0\u00a0<\/span><\/p>\n Rate: B-<\/b><\/p>\n If you liked the review, share your thoughts below.<\/b><\/b><\/p>\n Check out more of Adriano\u2019s articles.\u00a0<\/a><\/span><\/p>\n![\"Plainclothes\"](\"https:\/\/cinemadailyus.com\/wp-content\/uploads\/2025\/01\/PlainCrothes1.png\")
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