Given that Walt Whitman has played a key position thus a long way in We Are Who We Are, it shouldn’t be fine that this third episode opens with an attractive discussion about the price of poetry between our two teen protagonists. What spurs it will seemingly be Fraser’s replica of Ocean Vuong’s Evening Sky With Exit Wounds (“In the body, the place the whole lot has a sign, / I turned into once a beggar,” he reads aloud), but it with out a doubt mercurial turns into an change for Fraser — and the display — to position forth a thesis we’ve already been seeing play out. In distinction to Caitlin’s lickety-split model and junk-food choices, Fraser talks about how he’s “taking a discontinue up for stuff that formulation something.” He loves the intentionality of poetry, the place every discover is painstakingly chosen and calls for that you just own sufficient money it the significance it deserves.
The same, of direction, also will seemingly be said for We Are Who We Are. With the display’s unhurried tempo and swoonworthy soundtrack, the roving camera all but calls for you eavesdrop on its varied particulars, which in flip aid higher frame the scenes round them. Elevate the moment when Sam (Ben Taylor) breaks up with Caitlin (Jordan Kristine Seamón). Having us shuttle from Sam’s POV to Caitlin’s, with the camera yanking us from one to the opposite, stresses the disconnect between the two.
Furthermore, attending to observe Sam be rather inclined, hoping Cait acquired’t be as aloof as she finally ends up being when he says it wishes to be over, while director Luca Guadagnino cuts to a wide shot the place we ogle a militia drill of troopers doing push-americafeels cherish a shorthand that brings into focal point solutions and beliefs about masculinity that hurry via your complete display. Survey, for instance, the tug-of-warfare episode and the struggle that follows, or even Richard’s offhanded comment about how he thinks lesbian relationships conform to a heteronormative hierarchy in which one of many ladies should always pause the chores while the opposite takes a masculine position: “I will’t ogle it work any other formulation.”
Later, when Cait’s brother, Danny (Spence Moore II), wistfully wonders out loud what it will feel rob to accurate jump off and dwell the angst-ridden life he feels trapped in, his friend’s response feels jarring precisely on memoir of it’s a extra or less unsightly vision of masculine tenderness: “While you point to something cherish that again, I’ll crack your skull accurate originate.” In a display location at a militia terrible and centered on children studying to grow into their bodies, such moments are intentionally juxtaposed with the extra ethereal and fluid solutions round gender roles that Fraser espouses — or tries to, now not lower than. Seeing him fight to expose the trans trip to a irregular Caitlin (“It’s cherish a fever … a fever is a symptom that your body feels … it’s but it with out a doubt isn’t”) is endearing for how nonchalantly it acknowledges the location in verbalizing something that’s so visceral. In essence, he’s announcing you accurate wish to hearken to your body, which is a extra radical proposition than it within the foundation sounds.
Also, and now not to dwell on this scene for too lengthy, but that lengthy, slack closing in on Fraser and Caitlin, the place we’re positioned as both display shroud and camera, will seemingly be my favourite moment of the series thus a long way. The two will seemingly be taking a watch at a really elegant trans man — discovering in his photos presumably diverse things about themselves — but the truth that they’re literally taking a watch at us and letting us ogle the combo of curiosity, lust, fascination, and embarrassment wash over their faces is hypnotic, shooting what I possess this display does simplest: particularly, zeroing in on moments of self-exploration to display how messy they are able to also be. Guadagnino doesn’t accurate give us finish-americato provide an change to observe what Cait or Fraser is taking into consideration. He holds them, customarily for an wretched interval of time, to drive us to dispute alongside them, cherish when we ogle Cait sighing to herself by myself in her room, preoccupied any other time with the scale of her breasts.
Pointless to claim, to discuss We Are Who We Are as a poetic riff on the upcoming-of-age yarn, with recursive motifs and an insistence on shooting moments somewhat than tracing any sizable account, can imprecise how fascinated the display is with the extra prickly points it touches on and leaves hanging — to revisit later, presumably? Right here is undoubtedly the case with Fraser’s relationship with his mother, Sarah (Chloë Sevigny). The slap in that first episode and the gentle moment that followed within the foundation signaled that this mother-son duo own a fraught dynamic. Sarah bluntly telling Fraser that he shouldn’t be jealous of her on memoir of Cait likes her is an apology wrapped up in a provocation. And to make a determination by Alice Braga’s Maggie (“He’s progressively been advanced”), it’s sure this extra or less struggle is nothing original. It speaks to struggles about families writ trim, but right here they’re grounded within the ordinary trip. For Sarah, it’s now not easy to be father and mother, as she says (all but ignoring Maggie’s position), and you nearly need she would purchase a web command out of Fraser’s e book and work as an change to struggle that extra or less binary within the household unit.
But the stress between mother and son (right here again juxtaposed with the formulation she coddles him within the center of the night time) speaks to their particular dynamic, without prolong co-dependent and additionally rather unstable. By the point Fraser sees Sarah dancing with Major Jonathan (Tom Mercier) on the pageant later, the jealousy and heartbreak that he feels seem accurate as easily directed at him as they’re at her. For any individual who’s so clearly taking a discontinue up for that formulation in the whole lot, the sort of scene can’t aid but be intentional, telling Fraser something now not accurate about his mother but about the young man who makes him blush with giddy abandon. Right here’s a Whitman scene again, accurate one other boy aching with cherish — for her, for him, presumably for both on the the same time.
• “What is American food?”
• I in reality desire Fraser own been composed going via his turban phase.
• Even as the yarn has largely desirous about Cait and Fraser, I’m an increasing selection of intrigued by Maggie. Studying how each person dismisses her narrate to motherhood when it involves Fraser, in spite of having been in his life since he turned into once born, is heartbreaking. Furthermore, her stroll with Jenny (Faith Alabi) and the connection they almost begrudgingly build are divine, a reminder that, in Guadagnino’s world, every stumble upon is tinged with eroticism (I mean, that pie scene is de facto food porn, no?) and that points about who we’re and who we’re desirous to be don’t in reality depart when we change into adults.
• Hearing Jonathan talking about Ocean Vuong’s On Earth We’re Swiftly Sexy made me need we might perchance well uncover Mercier to mercurial summarize extra fresh ordinary classics to add to our to-be taught pile.
• Speaking of books, right here are a couple of titles in Fraser’s bedroom: Cheryl Strayed’s Wild, Diane Keaton’s Then Every other time, Audre Lorde’s Sister Outsider, John Updike’s Rabbit Trip, Jérôme Carcopino’s Every day Existence in Musty Rome, and The Total Works of Walt Whitman.
• While we’re talking about Fraser’s room: that Italian Blue Velvet poster is to die for.
• First the Donald Trump advert and now a Hillary Clinton conference speech: Are we in reality inching toward the 2016 election as the backdrop to your complete series?
We Are Who We Are Recap: Stuff That Blueprint One thing