God's Own Country (2017) User Reviews

A beautiful film

[elliest_5 · 9/10 · 4 July 2019]

Everyone in the reviews is like "Brokeback Mountain this" and "Brokeback Mountain that" reducing both films to the absolutely superficial account "just a gay love story involving sheep herding". This is such a completely different tone, scope, setting, storytelling, type of character portrayal - in fact a completely different cinematic tradition from Brokeback Mountain, that it makes me wonder if people assuming an influence/considering the comparison obvious even saw the film.

There's five main characters in the film: Johny the frustrated teen/young adult who reluctantly takes over his dad's farm while he's recovering from a stroke, the dad - a typical hardworking man of few words who, we learn, raised his son alone, the gran who is caring but no-nonsense/unsentimental, the newcomer Gheorghe, a young Romanian farmer with lots of experience and genuine interest for the farm, and then there's the farm itself. The farm has needs, moods, emergencies, and ultimately drives the plot.

It's not a story about the discovery of sexuality, it's a story about the discovery of love and camaraderie, as well as a story of acceptance. Johny's journey towards settling into a life as a farmer is more or less that of the five stages of grief: denial (assisted by heavy pass-out drinking), anger, bargaining, and depression. In this journey Gheorghe becomes his guiding light.

It's beautifully shot, nicely paced, and naturalistically acted. I can hardly find a fault in the artistic result. As for its emotional impact, I can say for sure that I was moved, not only by the love story, nor just by the understated yet powerful portrayal of family bonds, but also by the portrayal of farm life, which (having grown up in a similar setting myself, albeit far far away from the hills of Northern England) made me think how people can be united by common experiences a lot more than by language, ethnicity etc.

a brave honest essay on sexual self-discovery

[CineMuseFilms · 9/10 · 7 September 2017]

It has been twelve years since the milestone Brokeback Mountain (2005) demanded that cinema be more honest in depicting the realities of same-sex love. Much has changed since then but most tropes of romance are still linked to heterosexuality. Whatever Brokeback achieved in the Wyoming mountains, God's Own Country (2017) takes to another level in the Pennine Hills of Northern England. It is a measure of social progress that cinema has moved beyond just portraits of 'forbidden love' to a space where it can openly explore rather than confront gay love.

Life on a sheep farm is tough and lonely for Johnny (Josh O'Connor). Since his father's stroke, he runs the farm by himself but all he gets is scowling disapproval from his ageing parents. He vents his anger and frustration in drunken binges and rough furtive sex with other gay men in a village wary of anyone who is different. A handsome Romanian seasonal worker Gheorghe (Alec Secareanu) is hired to help during the lambing season and Johnny's rural racism erupts in verbal taunts. Called a gypsy once too often, Gheorghe confronts him with intense physicality and the relationship changes instantly. While tending the sheep, they spend a few nights in an isolated shelter and their first sexual encounter terrifies and confuses Johnny who has never known tenderness and emotional acceptance. Gheorghe's sensitivity compels Johnny to confront his inner fears and discover his emotional self.

This is a complex film on several levels. The story barely moves forward in this cold, lonely, inhospitable place, with the narrative energy coming entirely from its earthy filming style and intense, authentic characterisation. The camera accentuates the slow pace of life by lingering on empty spaces, small details, and nature's ways. A close-up of a butterfly, misty morning light, the birth of a lamb, panoramas of harsh beauty in frosty air, all take on meanings beyond what we see. The depth and nuance of acting by O'Connor and Secareanu is the film's powerhouse. The silences are long and dialogue sparse, and much is communicated through action. Initially there is little to like about Johnny: we cannot get close to someone who is so distant from himself. Gheorghe is the opposite: intuitive, warm, and empathetic. The chemistry between them progresses from turbulence to deep acceptance and each step of the journey is raw and exposed. Intimacy between males is still a frontier in cinema and this film breaks through.

Like Brokeback, this is a genre-defying, coming of age, drama-rich love story. Today's audiences expect realism in human relationship stories and this film offers a full-frontal exploration of masculine sexuality and emotional self-discovery. This is a love story of universal relevance that transcends the usual clichés of romance. It is brave cinema with cutting-edge honesty.

Unusual yet very nice setting for a growing romance between a young farmer and a Romanian temporary farmhand

[JvH48 · 8/10 · 22 February 2017]

Saw this at the Berlinale 2017, where it was part of the Panorama section. It all happens within an unusual yet very nice setting of a farm miles from anywhere, showing how a romance develops between young farmer Johnny and a Romanian temporary farm hand. I grew up on a farm myself, and thus welcome seeing people on screen who know how to handle animals, together with demonstrating that farming is not so romantic as many think, but in fact is a 24/7 job under often unaccommodating circumstances, like cattle diseases, uncertain weather and a resisting soil.

The dramatic developments are nicely spread over time. I was happy to see that the story was less predictable than one assumes after having read the synopsis. Unlike in other movies, this time it is not the village people that cause trouble by frowning on gay relationships. Even Johnny's father and grandma don't make a fuss when finding out what is happening between Johnny and Gheorghe. I like these deviations from the usual downtrodden path, and I applaud that this movie introduces new elements. It allows us to follow the interesting route that this relationship takes, in any case not straight from A to B (I use the word "straight" here with hesitation, no pun intended).

An important plot element is that Johnny cannot cope with all the work before him, next to his ailing father who wants things done the way he always did in past years, issuing commands and criticism to that effect, without even considering to drop some parts of the farm or using new techniques that may help alleviate the workload. It is remarkable that Johnny does not stand up against the status quo. Even when halfway the running time the father falls victim to a second stroke, one that does not bode well for his complete recovery, Johnny insists that he "will manage" despite demonstrating that he cannot.

An external trigger event is definitely needed in making very apparent that there is more work than there is time. His father's stroke in combination with Gheorghe's decision to leave due to anticipating problems in his relationship with Johnny, forces a breakthrough. Johnny tells his father that he leaves the farm for a short while (to meet Gheorghe, and to convince him to return), and that he has plans how the farm should be run after his return. He insists that several things must change to start doing things his way, and that he cannot continue at all cost how his father did it in the past.

All the above combined takes care that there are ample developments to keep us awake all the running time. The characters are interesting enough and not made from cardboard, and the turns of events are not caused by the usual interference from the villagers when gay relationships are involved, but come directly from unlucky circumstances and doubtful decisions by the main protagonists.

All in all, next to downplaying the overly popular romantic view on running a farm, this movie also does a good job of introducing a fresh take on gay relationships. Sex is not the main binding element here, nor is resistance from the environment an issue driving them apart. Though not essential for the plot, sightseeing through the landscapes of Yorkshire works as icing on the cake. A minor problem that I have with the plot is that Johnny continues too long on his father's leash, and is very late with allowing extra help or forcing some other way out of the work overload. Even after his father's second stroke, when it becomes abundantly clear that he cannot cope, he still insists that he "will manage". I missed the reasons behind the overdue switch to his new attitude that "things have to change here". Maybe a nitpick on a well-made movie, that has a lot of other things to offer, making it a worthwhile watch anyway.

Men In Love

[alanbenfieldjr · 10/10 · 24 February 2018]

What a wonderful and unusual experience, to see a film without knowing anything about it. Before I knew it I was in Yorkshire. The silence was deafening, emotions unspoken. Then, Josh O'Connor - a miraculous actor - I didn't know who the actor was and that helped enormously to get sucked into his world - exterior and interior - and to live his experience fully. Alec Secareanu produces the perfect emotional blow. Roughness and tenderness in a stunning, totally believable performance that, I know will live in my mind forever. They changed me somehow. I was forced to look at something in a different way, without preconceptions. Gemma Jones and Ian Hart. complete this masterpiece that I intend to see again tonight with a group of friends who, like me, don't know the first thing about the film, other that I loved it. Francis Lee I'm joining the chorus with a heartfelt, thank you.

The level of intimacy between the characters is unlike anything I have seen before

[aecceity · 10/10 · 17 January 2018]

Absolutely stunning film that is now right up there among my all-time favourites. It's sensual and romantic; and raw and ugly at the same time which is actually quite an accomplishment. The partnership between O'Connor and Secareanu is incredibly effective; the magnificent Ian Hart made me cry and Gemma Jones is amazing as well. Along with a breathttaking scenery and the haunting melodies of A Winged Victory for the Sullen, it's truly a film to remember and cherish.

question

[Kirpianuscus · 3 February 2018]

For a Romanian viewer, the presence of Alec Secareanu in a film, who has in its basic themes homosexuality, it is a challenge. for a large public, it is a version of "Brockeback Mountain". for many, its cold beauty, the delicate force of story are the basic virtues. in fact, it is a beautiful film. too complex and too good for be reduced at a precise verdict. a film about solitude, friendship and love. a film about the need to be near the other. seductive for the care for details and realism. a question to public about small, fundamental truth. well acted. and source of a very personal emotion. so, one of films who must see it.

Too formulaic for my taste

[amandazz100 · 6/10 · 14 September 2017]

The film is beautifully shot and the performances are often riveting SO hats off to the actors involved.

For me the film itself was let down by a sense of both being rather predictable in terms of both who the participants are, and how they behave and what happens to them at both main and supporting levels. and pandering to the current buzz issues such as immigration.

The "gritty" depiction of the life of a farmer - appears to be one that is designed to shock its urban audience particularly through its use of camera angles. I just found that treatment rather obvious.

I found Women in Love - in 1969 a far more powerful movie.

A Powerful Must See

[k_buck4 · 10/10 · 16 July 2017]

After seeing this at the Galway Film Fleadh, I can honestly say that this film is a beautiful standout that deserves more than to be called the "British Brokeback Mountain". While the comparisons between the two films were inevitable, God's Own Country offers different things than Ang Lee's classic. It speaks to more current issues of gay young men in a modern rural area, masterfully incorporating themes of identity issues, immigrant problems, and familial expectations. It's not a remake of the classic, it's an advancement of the genre that Brokeback Mountain helped define.

The most dazzling part of this film is the two young leads, Josh and Alec. It has been many, many years since I have seen a film where two individuals had as much chemistry between them, and the work that Josh and Alec put in to their character leaves the audience deeply and emotionally connected to both characters throughout the entirety of the movie. I could feel the lust between the two when they were on stage, and the heartbreak that happens when a fight occurs. The emotional performances by the two leads make the great movie even better.

Props must also be given to Francis Lee-- as a first time director, this is not the movie we in the audience were expecting. It was as masterful, as poignant, and as beautiful as any established director could have done. It was an honor to watch this film, and I cannot wait to follow the career of the director-- after what he did here, I know much more greatness is on the way.

I have not stopped thinking about this film for 3 days after I saw it. It won't leave me for a long time, because there is so much to thing about and so much to celebrate. I cannot wait to see it again, and I encourage you to see it as soon as you possibly can- - this is what independent cinema can look like when done masterfully!

Visually interesting; needed subtitles, tighter editing, and a little more context

[dallas_viewer · 7/10 · 18 March 2018]

+++ MINOR SPOILERS BELOW +++

Not quite a 7/10, but close enough. Points are for cinematography and acting. Story was not bad, could have been better.

************* This was a visually interesting movie for me. The cinematography gave a very good sense of Johnny Saxby's Yorkshire farm: vast, isolating, often cold (it looked to me like the actors must have been freezing in some of those scenes), and generally intimidating to a family that does not have the resources to take care of the endless chores that must be carried out in order for such a farm to succeed.

For me, the acting was fine. However, the lack of subtitles on the DVD was a problem. I'm American, and I simply could not understand some of the dialogue in the film, due to the heavy accents of some of the actors. Granted, there's not a lot of dialogue to begin with, but it's clear that there were a couple of sentences here and there that seemed to be germane to the story line, yet I could not make them out, even after rewinding and listening again.

I thought the film was way too slow in parts. I get that there's a certain allure to keeping in all that film footage of the harsh, desolate "personality" of the Yorkshire countryside. But some of that, IMHO, needed to be edited down to keep the film moving. Also, I was not a fan of the scenes dealing with lamb deaths and birthings. I think that those, too, could have been shortened up a bit while still getting across the idea of the hard and sometimes emotionally exhausting life of a sheep farmer.

Now, onto my main problem with this film. For the life of me, I could not understand why Gheorghe (the itinerant farm hand who comes to help Johnny during lambing season) was attracted to Johnny. I can see why Johnny was attracted to handsome, warm, capable, and caring Gheorghe. But gawky looking Johnny, with his sullen and resentful attitude, showed me nothing that explained why Gheorghe would be interested in him.

I think this was a big failing on the part of the film. We needed a little more dialogue (not that I would probably have understood it :-) ), something that Gheorghe reveals to us that helps us understand his attraction to, or affinity with, Johnny. It would not have been that hard to do. Instead, we never learn much about Gheorghe, which hurt the relationship's credibility for me.

In that same vein, instead of a brief post-coital bedroom scene where all we see is Johnny asking Gheorghe how to say certain English words in Romanian--really, Director/Producer/Editor, this was important to show us??--maybe that scene should have shown Johnny articulating his hopes and dreams and conflicting feelings. Or maybe the two of them sharing thoughts, revealing things, that show us why they fit together as a couple. You know--something of substance.

I am also skeptical that two men would feel comfortable kissing passionately in full view of any co-workers who might happen to walk by. (This occurs late in the film.) But hey, maybe Scottish attitudes are more laid back about that kind of thing?

Finally, I'm kind of confused about how the men will make a go of the farm, down the road. Gheorghe says he's been through this before (the loss of his own family farm) and can't do it again. Did he and Johnny actually discuss what could be done (beyond making sheep's-milk cheese) to truly make the farm a viable, going concern? I don't think so. It would have been nice to understand that they had an actual plan, going forward.

So much more than "The British 'Brokeback Mountain'"

[TheLittleSongbird · 10/10 · 1 September 2017]

That title is in no way an insult. 'Brokeback Mountain' is a masterpiece, one of my favourites. 'God's Own Country' is also, in its own way. A film with an interesting, if potentially not the most accessible subject matter, that ended up being one of my favourite films of the year so far and for me the film that moved me the most.

'God's Own Country' is a film where, providing that the subject matter appeals (personally think it is an important subject and not explored enough on film and treated very judgementally in society) and one goes in knowing what to expect, it wouldn't make a difference whatsoever as to what gender or sexuality the viewer is. Speaking as a heterosexual female with "gay" friends (among the nicest people personally met too). It took the festival circuit by storm and it's no wonder.

It's a beautifully made film, especially in the luminous photography and rich in atmosphere scenery. The music has presence but is never intrusive, even only being used when needed. Minimal dialogue proved to be a good choice and what there is of it was still thought-provoking and flowed well. When not with spoken dialogue, 'God's Own Country' really resonates. Showing the beauty of registering so much and inducing emotions when understated and very quiet in mood, with as little as small gestures, expressive eyes and faces and no words.

Francis Lee does a remarkable job directing, cannot believe that this is his directorial debut. There are not many great first-time-director films, even the very best went on to much better things (for Kubrick's first film was also his worst), 'God's Own Country' is one of them. Story-wise, the film is deliberate and understated but beautiful and very poignant, with a lot of nuance in how the characters are developed in compellingly real characterisations and not cardboard stereotypes. It is hard to pick the most moving element or part, because it was mainly how the quiet, nuanced atmosphere, writing and acting was executed and the beauty of it all, basically the little things. It is a very different and sensitively handled slant on same-sex/gay relationships, such as in the attitudes towards the relationship, and that was done in a way that felt real and refreshing, not an easy thing to get right when portrayed on film or television but this is one of the better examples.

There are also strands crucial to the character development, like with the father. That added a lot of emotional weight. The characters are interesting and the central relationship beautifully realised and handled with tact and sensitivity, spark was absolutely there. Are there clichés? Perhaps. Whether that's an issue in film is wholly dependent on how they're written and incorporated, neither issues here. Maybe there could have been more depth to why the change of attitude, agreed, but this only occurred to me after the film finished rather than bothering me while watching and the realisation hit that it was an insignificant nit-pick that wasn't enough to bring the film down.

Here in 'God's Own Country', one couldn't ask for better performances. Not just from the fantastic leading turn of Josh O'Connor, really hope he goes on to great things after this, but also the ever wonderful Gemma Jones, Ian Hart (with some of the best acting he's ever given) and Alec Secareanu in a role not as meaty but just as movingly portrayed.

Overall, one of my favourite films of 2017 and the most moving one. 10/10 Bethany Cox

simple tale, some flaws

[manschelde-1 · 7/10 · 20 September 2017]

Rather simple story, sparse dialogue. Some powerful scenes. The first coupling of the two main characters was not believable.

Strong scenes mostly non-verbal. For example: Gheorghe forcing the arms/hands of the reluctant almost feral John to explore simple sensuality - in contrast to John's previous brutal, brief, anonymous couplings.

John's encounter with a girl from his schooldays who acknowledged his sexuality suggested that John had once opened up and been honest, but this was not developed and seemed inconsistent with his current destructive behaviour.

When the dialog is so sparse in key scenes, it's so important that each word is clearly enunciated (or other dialogue exists to compensate) and this sometimes did not happen which caused ambiguity and uncertainty of interpretation for me. The father's speech was impaired so I could not understand whether the father understood that John had fallen for Gheorghe as John said he wanted to run the farm his way.

I also found it hard to believe that plain speaking Yorkshire country folk (the father, the gran) would be silent about the relationship. Supporting actors Gemma Jones and Ian Hart very good also.

So a satisfying nice film but I wanted it to be better.

Earthy, Visceral, Transcendent Love

[lincoln-15 · 10/10 · 17 June 2017]

This review does NOT contain spoilers.

How do you review a film that leaves you speechless? I'll try my best for this magnificent film recently shown at the Sydney Film Festival to two sellout screenings.

Rarely does a film do such an amazing job at saying so much with so little script. There were probably only 100 lines of dialog but the film conveyed feelings that would be hard to convey in a 500 page book. The cinematography easily filled the gap as the actors executed their craft to perfection. The movie pulled me in and I was totally mesmerized by the story. It was so genuine that you felt as if you were there with them.

Johnny Saxby (played by Josh O'Connor) is stuck in a life of isolation and debilitating loneliness on a Yorkshire sheep farm. His father Martin (Ian Hart) is sick and no longer able to contribute any meaningful labor to help on the farm. The grandmother (Gemma Jones) does everything she can to care for her ailing son Martin while trying to keep her grandson Johnny from going completely off the rails. When lambing season starts Johnny is incapable of handling the workload on his own. To fill the gap the family hire a short term farmhand (Alex Secareanu) to assist Johnny with the work. A visceral "tug of war" starts immediately between the two men in every area of their lives: physical, emotional, psychological, and sexual. It is indescribable and can only be experienced by watching the film. I've never seen it done so well. It is amazing to see a production unfold where the screenplay, cinematography, acting, and landscape conspire so perfectly to tell a story. This is a movie for any adult - regardless of personal attributes or orientation - and captures what it means to be human.

This film is storytelling unbridled. Hiding nothing, the audience was treated with intellectual respect, and there was not a pandering moment to be seen. Regardless of who or what you are, this film will stir up emotions you had forgotten you even had. I highly recommend this rare and special film.

A minority review

[Red-125 · 7/10 · 20 October 2017]

God's Own Country (2017) was directed by Francis Lee. It was the opening night movie at ImageOut, the wonderful Rochester LGBT Film Festival. For me, the plot was just "Brokeback Mountain" in Yorkshire. (The film was introduced with the admonition that it wasn't "Brokeback Mountain," but if you see two young men who are sexually intimate in a hostile rural setting, you don't think of Pride and Prejudice or Jane Eyre.)

Josh O'Connor plays Johnny Saxby, who is so bored and frustrated with his work on his father's farm that his only reaction is to get dead drunk every night. Alec Secareanu portrays Gheorghe Ionescu, a Romanian immigrant who comes to work on the farm during lambing season. Both men are fine actors, so they can keep the moving moving forward. (They can keep it moving forward, but they can't make it better.)

Gemma Jones portrays Deidre Saxby, Johnny's mother. She is a consummate professional, and she brings life to the movie.

This film will work better in a theater, because of the beautiful Yorkshire scenery. I just wish someone in the film had a conversation about something other than fixing the fence or being hung over. To my recollection, the only real conversation is when Johnny meets a girl he knew, and tells her she's a snob because she's going to the university.

We saw this film at Rochester's excellent Little Theatre. The LGBT Film Festival is superb, but I didn't enjoy this movie. I made the same general comments about "Brokeback Mountain," and nobody found my review "useful." The film is carrying a very strong IMDb rating of 7.8. OK--other people enjoyed it more than I did. I just call them the way I see them.

Landscape Shot the Movie

[pavioc16 · 4/10 · 2 May 2020]

It's a well acted, beautifully shot, occasionally passionate movie which is a complete drag to watch and is honestly just an extremely boring archetypal romance padded with absurdly long landscape shots and a lot of farming. I almost stopped halfway through, but as a gay man who couldn't get through Brokeback Mountain I gave it another shot before it leaves Netflix.

It does not get more interesting. And am I the only one that finds the romance and story kinda... Blah? An unlikeable British farmer meets perfect husband material and within a few days they are in love apparently (I can deal with that... It's a movie.) Then, the English guy cheats on the Romanian, so the Romanian guy leaves, but everything turns out okay because the British guy finally chases him down? Riveting stuff man...

I summed up the movie to a friend this way... Oh look a sheep! Oh look English country side! Oh look gay sex! Oh look more sheep!

Hard pass. Wouldn't have finished if I wasn't temporarily laid off due to COVID

The best film I saw at Sundance

[dirrobsavage · 10/10 · 6 February 2017]

One of the most powerful films I've seen in years, with fearless and authentic lead performances from Josh O'Connor and Alec Secareanu and beautiful, understated writing and direction from Francis Lee. Lee says more in a wordless scene than many filmmakers do in a whole feature.

Joshua James Richards shoots Yorkshire with a cinematic quality rarely seen in British film and operates his hand-held camera with an empathy and intuitiveness that allows him to capture many astonishingly intimate and truthful moments of performance.

It's these telling and tender moments which make up the film - small gestures that carry huge emotional weight. It is testament to Lee's writing and direction, and the performances of his entire cast, that these small moments (a glance, fingertips touching...) carry such a large emotional weight.

A Powerful Story of Intimacy

[gazferg · 10/10 · 1 September 2017]

Beautifully photographed in the Yorkshire countryside during lambing season, God's Own Country depicts the severity and isolation of farm life for a 3-generation family. The ensemble cast are brilliant giving balanced performances which never overstate their connections or feelings for one another. While there is very little dialogue, there is considerable depth to the story and this audience member took away a lot from the story. This is a film which could crudely be labelled a gay coming out film but it's much more than that. It's a film about family relationships, dad and son tensions, the expression of intimacy and the acceptance of those who are often marginalised in our society. To say more would be to spoil the power of the movie.

a real admirable work

[Kirpianuscus · 4 February 2018]

... first, for its honesty. and minimalism. and gray air. and splendid locations. and the courage to be a love story more than a gay movie. and for the delicate and precise exploration of solitude. clash between two cultures, struggle between duty and feelings, precise picture of a farmer family from North Eangland, it is one of films who could work as perfect mirror for each viewer.

Two Isolated Heart's Come Together

[lyonbrave · 6/10 · 13 February 2018]

God's Own Country is a film that Clearly parallels Broke Back Mountain. The movie is basically about two farmers who fall in love, just like in BBM. Broke Back Mountain was one of Hollywood's most visible gay movies of all time. It is hard to know if a gay film will ever generate as much buzz as Broke Back Mountain.

Though God's Own Country was not a blockbuster film like BBM, it is worthy of being watched, especially if you identify as a gay person. There is an honesty and purity to this film that was not in BBM. Perhaps, the love between Alec Secareanu's charchter and Josh O'Connor's is more believable because they are not big Hollywood names. For the most part both of these actors are widely unknown, though both men must be fairly talented actors to play gay so convincingly.

The pace of the movie is rather slow, which is why I could not give the film a higher rating. There are times the movie is simply not engaging or captivating enough to hold an audiences attention, though the overall movie is good, calling a movie remarkable simply because it has gay characters is a bit of an insult to film. A good film needs more than gay characters to be noteworthy and as a rule gay film's are rarely, good. That is not to say that Francis Lee did not write a strong artistic piece, it's just not very commercial of popcorn friendly, but not all movies have to be.

What I will say is the characters end up having sex through believable ways that are not romanticized. It's nice that the charterers are focused on each other and not in engagements with women. As bold as film tries to be most film still shows gays in the closet, instead of being free to love. At least this movie has an element of freedom in the characters spirits and strength towards how they love each other.

One of the finest British films of the current century.

[MOscarbradley · 10/10 · 17 September 2017]

Waiting a week to review a film or a play can be problematic. Thinking back, surely the film's faults will rise to the surface, the ones you tended to overlook at the time. Of course, the opposite could be true; mulling over a film in your head might make it grow with hindsight. Walking out of Francis Lee's "God's Own Country" I knew I had seen something special; I knew I had seen a film that was a triumph of both LGBT cinema and of British cinema in general. A week later, and taking everything into account, I'm inclined to think that "God's Own Country" could be the best film of the year.

Like Andrew Haigh's "45 Years" this is an incredibly simple film about very complex emotions and issues. The setting is a farm in Yorkshire. The farm isn't successful and in time, it may well go under. It's run by Martin, (Ian Hart), but he's incapable of working due to injury and later illness. The work, (looking after the sheep and the cattle), is done by his taciturn son Johnny, (Josh O'Connor). Johnny is gay but he's practically homophobic; after a quick bout of sex with a guy he's picked up in a cafe, he just doesn't want to know and brushes the guy off with the words. "We? No." Then Gheorghe comes into his life; he's the Romanian farm-hand they hire, initially for a week, to help with the lambing. At first Johnny treats Gheorghe like dirt, asking him if he's 'a Paki' and calling him 'Gypo' and when, finally, they do have sex it's a rough act of lust borne out of loneliness on both their parts.

It's here that comparisons with "Brokeback Mountain" are bound to be raised, both in the setting and the way in which the initial attraction happens, (there's a later, and quite disarmingly beautiful, moment that will remind you of a similar scene in "Brokeback Mountain"), but Francis Lee's film is a much more honest and a much finer film than Ang Lee's which aimed for a Hollywood demographic.

"God's Own Country" is a film that hearkens back to the great British kitchen-sink movies of the sixties and to the kind of films that Ken Loach is still turning out. It feels 'real' and down-to-earth; at times it could be a documentary, (there are a lot of scenes showing life on a farm where the most dramatic thing that happens is a sheep or a cow giving birth). The relationship at the centre also feels real if, to some, a little unlikely. Perhaps the biggest, indeed the only, fault I can find with "God's Own Country" is in Lee's decision to make Gheorghe the strong, silent hunk who lands on Johnny's lap. Wish-fulfillment or what? Nevertheless, and without wanting to give too much away, it's edifying to finally see a gay-themed movie that doesn't end in tragedy. It's also superbly played by basically its cast of four. Both Josh O'Connor and Alec Secareanu are excellent as Johnny and Gheorghe, conveying so much with very little in the way of dialogue, while Ian Hart and especially Gemma Jones are wonderful as Johnny's father and grandmother. Jones is beautifully understated as a woman who accepts everything life throws at her with stoicism and a degree of humour.

Of course, this is a film that won't appeal to everyone. There are people who will find fault with the pace, with the lack of drama, with its political message and I am sure there will be gay men who will see in Johnny and Gheorghe things they may think don't ring true or simply dislike, (Johnny is far from sympathetic from the outset), and yet it is these very contradictions, together with Lee's wonderful sense of place, that marks this out as a great film in my eyes. And yes, it is deeply political without ever stressing that side of things. This may, indeed, be the first great post-Brexit picture to come out of the UK. However you choose to view it, it remains utterly unmissable.

Brokeback Mountain during the age of tolerance

[Horst_In_Translation · 6/10 · 20 November 2017]

"God's Own Country" is a British English-language film, very new from this year (2017), and it is the first full feature film effort by writer and director Francis Lee. For most of the cast members, this is probably also their most known work at this point, including lead actor O'Connor and his co-lead Secareanu playing gay farm workers on the estate of the former character's father. O'Connor's character is definitely at the very center of this award-winning movie and it is his story from start to finish. Also a mention to Jones and especially Hart who are doing a pretty good job here. You could guess initially that Hart's character's second stroke was a reaction to finding out about his son's homosexuality, but you would be wrong as you see at the end. It sure does not say anything positive about the protagonist's intelligence if he thought he could never tell Martin and Deidre. Anyway, the one thing I liked was really that from the moment he meets his love interest, there is definite change to see for the rest of the film to Johnny. How his anger and frustration become less and less and hope and longing for happiness take their place.

But there are also some definite weaknesses in here, namely most of all the generic very basic order of conflict. I always find it somewhat cringeworthy when near the end major conflict arises and needs to be solved as in this film with the example of the cheating and of course there is not only the protagonist's former friend around, but also another gay and of course they have sex regardless of how much he loves Gheorghe. And then the expected "feel-good-for-the-sake-of-it" conclusion at the very end was pretty bad too. Maybe not for audience's sakes, but for storytelling sakes. Oh well, actually for audience's sakes too if they want to see a good movie and not just fake happiness and closure. Really hurts in terms of the authenticity and as this is one of the film's key components to show us a rough but real world, it makes things even worse. They destroyed a lot in these final 20-25 minutes that they constructed so well before that. A bit of a shame. I think the scenes with the cows, calves, sheep and lambs were all handled very well too I must say and judging from the audible reactions, especially those from the female audience members, people liked them.

The film's biggest strength is certainly that it won't go for cheap thrills in terms of homophobia. The characters' sexual preferences are never judged negatively by the supporting characters, even if they sometimes fear they would be. And this area is a huge problem in many gay-themed (short) films. But Lee never made this issue crucial in his work here and with that he made the perfect decision. The film is never defined by the characters' homosexuality, but it is defining as a character study about illness, desperation, family, work, love, hope and many other components. Eventually I will be a bit generous here as it is a close call if this one gets a thumbs-up or thumbs-down from me, but I give the edge to the positive. Still I must say that the awards attention is definitely over the top and you should not expect any kind of greatness when checking this one out because otherwise you will be pretty disappointed and not able to see this film for what it is: a solid love story and an even better family story.

Raw, dark, and bleak and yet profoundly beautiful, fluid and sensual.

[Bgeisler63 · 10/10 · 12 October 2017]

Director Francis Lee is at the top of his game. Superb visual storytelling with minimal dialogue. Emotional responses are earned by the story/performances as opposed to musical cues. The film is raw, dark,and bleak and yet profoundly beautiful, fluid and sensual. There is this unifying earthiness throughout that connects the characters to the land and their animals that I have never seen in a film. The authenticity of the depiction of life on a farm is incredible. The actors are all amazing and the story avoids all clichés. The emotional arch of the main character is astounding and yet totally believable. This is one of those films I saw days ago and can not get out of my head. Do not miss it.

Admirable, professional...but an emotional near-miss

[moonspinner55 · 6/10 · 27 January 2022]

Because same-sex affairs on the screen are so rare (even with the advent of the highly successful "Brokeback Mountain", which curiously broke very little cinematic ground), one is apt to grant a wide berth to any drama attempting to seriously depict gay relationships. "God's Own Country" from the UK, while well-made and acted, just misses; it isn't absorbing enough either dramatically or emotionally to pack the wallop one may be waiting for. Rough-hewn, belligerent young man named Johnny, the son of sheep farmers in Yorkshire, parties all night and is often brought home stinking drunk; his classmates have all moved on to college, and he resents the farm, the hard work and his small-minded parents. But this thick kid with the plain, blank face has a surprising secret: he occasionally picks up young men in town for quick, anonymous sex. When a handsome Romanian, currently employed at a potato mill in Scotland, is temporarily hired to help herd the sheep and build a stone border wall, the two men barely seem to take notice of one another until an angry confrontation breaks the ice (Johnny gets on the new worker's bad side by calling him derogatory names, such as "gypsy"). I wasn't convinced that a sexual relationship could develop between these two stubborn, non-verbal men, but that's the scenario writer-director Francis Lee and his actors have delivered. The milieu (too close to "Brokeback Mountain" for comfort) is vividly depicted--if filthy, exhausting work on a Yorkshire farm happens to be your field of study. The dramatic story arc comes rather belatedly, when Johnny realizes he is capable of actually feeling something for another man besides lust. That's a terrific lesson to teach--and it seems it must be taught again and again to each new generation--but these verbose characters (in their freezing cold, muddy surroundings) literally never warm up. Lee comes close to getting a bloom on his rose at the very end--consequently the strongest portion of the picture. **1/2 from ****

Not just another gay movie

[euroGary · 8/10 · 25 August 2017]

My, but it's grim up north. Downtrodden young farmer Johnny (Josh O'Connor, currently most famous for his role in ITV's adaptation of Gerald Durrell's memoires of boyhood animal abuse in 'The Durrells') works on his family's bleak, debt-ridden farm in Yorkshire. The only other human occupants are his father (Iain Hart) whom, frustrated and embittered by the debilitating effects of a stroke, belittles Johnny's every effort; and his grandmother (Gemma Jones), a woman who has raised withering disapproval to an artform. Johnny has only two escapes - getting bladdered in the local pub; and having quick, frantic homosexual couplings with strangers (the kind of sex that involves hardly any removal of clothing and spitting on the bottom of the, um, bottom).

But then, against Johnny's protestations that he can cope with the work, a migrant worker is hired ("the only bugger who applied") to assist during lambing season. Gheorghe (Alec Secăreanu) turns out to be the smoulderiest Romanian you ever did see. He's also kind, gentle, wise and understanding. He even proves to be a dab hand at skinning a lamb, as is seen in leg-crunching detail - vegetarians prepare to feel smug! For how long will Johnny be able to resist the charms of this romantic Romanian hero?

Gheorghe's lack of flaws was pointed out to writer/director Francis Lee at the preview screening I attended at the British Film Institute (who helped with the film's funding). The best Lee (wearing what I honestly at first thought was a false beard - when oh when will this hipster fad end?!) could come up with was Gheorghe "can't drive a tractor". But lack of tractor-handling abilities aside, Gheorghe's seeming perfection is unbelievable in what is otherwise a very down-to-earth production, and thus a bit of a flaw for the film. Another flaw is Cheltenham boy O'Connor's Yorkshire accent, which is distracting when it wavers (very occasionally he sounds more like he's just stepped off the set of 'EastEnders' than that of 'Emmerdale'). But O'Connor should be proud of the restrained way in which he portrays Johnny's gradual flowering from closed-off, unlikeable human being - it is totally believable. Secăreanu is given less to do other than be perfect husband material, but he deserves congratulations for delivering so well lines in what is, presumably, his second language.

All-in-all this is a film that, although not perfect, is certainly worth seeing, as a study of the hope offered by love and how that love is often put at risk.

Not half bad for a Wednesday.

[GiraffeDoor · 7/10 · 30 November 2019]

I was a bit enamoured with this movie's premise: a slightly xenophobic farm boy under a lot of pressure from his family finds himself through his relationship with a homosexual immigrant. I know, it's annoying to put plot summaries in IMDB reviews, but bare with me.

Maybe it wasn't the epic I was counting on it to be, it's deceptively simple, but it is an expertly realized account of a simple story, one that has probably been told before but probably not this well.

The atmospheric vision of countryside with its lonliness and callousness really make this pop off the screen.

It's a love story, and one of the few love stories I've really felt has a substance to it beyond wish fulfilment.

A tense but restrained work that earns its feel good moments.

It's not taboo to be Gay!!!

[hedgehog2121 · 3/10 · 12 April 2019]

Without a doubt the actors in this film are great, the performances are top notch. Is it special story worthy of theatrical release? Absolutely not. For all the gushing plaudits can someone please tell me what is unique about this story? Its 2019 not unusual for two gay men to fall in love - its not frowned upon to be gay in the UK anymore. Unfortunately the filmmakers seem to think its still taboo to be gay. Two gay men falling in love is not enough of a storyl ine to make a film!

It's been done time and time again. Brokeback Mountain for example was set in a place and time when it was absolutely unacceptable to be gay.

People who are giving this 10's are those arty film snobs who tell everyone they're too stupid to appreciate good art.