{"id":320,"date":"2026-05-20T22:07:33","date_gmt":"2026-05-20T22:07:33","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=320"},"modified":"2026-05-20T22:07:33","modified_gmt":"2026-05-20T22:07:33","slug":"the-man-i-love-review-rami-malek-is-a-revelation-in-ira-sachs-achingly-observed-portrait-of-art-love-desire-and-mortality-in-1980s-new-york-city","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=320","title":{"rendered":"\u2018The Man I Love\u2019 Review: Rami Malek Is a Revelation in Ira Sachs\u2019 Achingly Observed Portrait of Art, Love, Desire and Mortality in 1980s New York City"},"content":{"rendered":"
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\nIra Sachs has been on an incredible career roll lately, with three consecutive features digging into the complex inner lives of gay men in distinctive ways, reaffirming the director\u2019s position among the preeminent movie chroniclers of queer experience. Whether or not it\u2019s intended, those three entries could be considered an unofficial trilogy. Sachs\u2019 emotionally charged latest,\u00a0The Man I Love<\/em>, revolves around an unapologetically narcissistic lead character not unlike the Franz Rogowski role in 2023\u2019s\u00a0Passages<\/em>\u00a0and shares a fascination with bringing verbatim texts to life with last year\u2019s\u00a0Peter Hujar\u2019s Day<\/em>\u00a0\u2014 in that case as a diaristic literary project, this time as performance art.<\/p>\n

Read more Tina Fey and \u2018The Four Seasons\u2019 Cast on Continuing Series Without Steve Carell \u2014 But Keeping the Group Chat Alive<\/a><\/p>\n

\n\tWithout ever leaving its single apartment set except to step onto the terrace,\u00a0Peter Hujar\u2019s Day\u00a0<\/em>revealed not just the photographer but a time capsule of the downtown New York art scene in the mid 1970s, roughly speaking, the window between peak Andy Warhol and Keith Haring.\u00a0The Man I Love<\/em> skips forward a decade to the late \u201880s, shifting its gaze to the alternative theater and performance scene when stage companies like the Wooster Group were pushing boundaries and venues like the Pyramid Club were booking drag acts and post-punk bands.<\/p>\n

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\t\t\t\t\tThe Man I Love\t\t<\/p>\n<\/h3>\n

\nThe Bottom Line<\/span>
\n<\/p>\n

\tAn elegy defiantly tethered to life.
\n\t<\/span>\n<\/div>\n<\/div>\n

\nVenue<\/strong>: Cannes Film Festival (Competition)
Cast<\/strong>: Rami Malek, Tom Sturridge, Rebecca Hall. Ebon Moss-Bachrach, Luther Ford, Sasha Lane, Maisy Stella, Amy Carlson, Stephen Adly-Guirgis, Jahi Di\u2019Allo Winston, Dennis Courtis, Blanka Zizka
Director<\/strong>: Ira Sachs
Screenwriters<\/strong>: Ira Sachs, Mauricio Zacharias
\n
\n\t\t\t\t\t\t\t\t1 hour 37 minutes\t\t\t<\/span>\n<\/div>\n<\/div>\n<\/div>\n

\nRami Malek is transformative as Jimmy George, a downtown theater artist with a fictional experimental group called The Mechanicals. He seems as famous for his louche charms as his stage acts and has been throwing himself into rehearsals for a new piece following a period of hospitalization with AIDS-related illness.\u00a0<\/p>\n

\n\tThat project is a word-for-word recreation of a forgotten French-Canadian queer film from 1974, called\u00a0Once Upon a Time in the East<\/em>. It follows a day-in-the-life of a group of marginalized Montreal outsiders that includes a toughened singer named Carmen, to be played by Jimmy in drag with a blond wig. Sachs describes the original film: \u201cAs if Altman\u2019s\u00a0Nashville<\/em>\u00a0had been made by Fassbinder.\u201d<\/p>\n

\n\tThe fractious but communal atmosphere of rehearsals spills over into Jimmy\u2019s homelife, in an apartment that frequently becomes a sort of salon for his close-knit circle. A party at which guests go around the table, each of them singing a song in an eclectic mix, seems precisely the kind of gathering that is Jimmy\u2019s lifeblood.\u00a0<\/p>\n

\n\tHe lives with longterm boyfriend Dennis (Tom Sturridge), who provides stability, loyalty and care, making sure Jimmy eats and organizing his meds. A ravishing moment early on in which their arms seek out each other at the dining table, tracing body contours they know as well as their own, is quintessential Sachs, the rare American filmmaker completely unselfconscious in his depiction of queer sex and sensuality as a shared language.<\/p>\n

\n\tWhile the movie belongs to Malek \u2014 who makes Jimmy both languorous and revitalized by creativity, weakened by declining health but hurling himself with ferocious tenacity into whatever life he has left \u2014 Sturridge is the stealth MVP. With an impressive economy of means, the actor gets at something fundamental to the relationship between artists and their partners, comfortably occupying the tight spaces left available by a magnetic man who sucks up most of the oxygen in a room without even trying. Dennis is a character not given to big emotional displays, but I found Sturridge\u2019s performance ineffably moving.<\/p>\n

\n\tWhen their downstairs neighbor Leslie (Maisy Stella) introduces them to her new Brit roommate Vincent (Luther Ford), he is instantly drawn to Jimmy and his whole Bohemian aura. For Jimmy, the high of having an attractive young man intoxicated by him provides another opportunity to tighten his hold on life, making it inevitable that they start sleeping together.\u00a0<\/p>\n

\n\tIt\u2019s assumed but unsaid that the relationship between Jimmy and Dennis is \u2014 or at least in the past was \u2014 a somewhat open one. Still the flickers of hurt that register on Sturridge\u2019s face and Dennis\u2019 prickliness around Vincent, who suddenly seems to be always there, hovering around the edges, feed the movie\u2019s rich vein of melancholy.<\/p>\n

\n\tThat aspect also comes from Rebecca Hall\u2019s deeply felt performance (her second colaboration with Sachs, following\u00a0Peter Hujar\u2019s Day<\/em>) as Jimmy\u2019s loving sister Brenda. When she comes to town for a visit with her husband Gene (Ebon Moss-Bachrach) and their preteen son Billy (Dennis Courtis), her closeness with her brother is immediately evident.\u00a0<\/p>\n

\n\tOne scene \u2014\u00a0\u00a0after Gene offers to accompany Billy back to the hotel late at night so Brenda can enjoy herself with Jimmy \u2014 takes the siblings to a fabulous drag bar. It casually shows the magnetic pull that Jimmy and his extended family have on Brenda and the different life she might have led had she made other choices.<\/p>\n

\n\t(The needle drops in this movie are impeccable; I swear I let out an involuntary whimper of delight when they enter the club to Shirley Ellis\u2019 \u201cClapping Song\u201d and DP\u00a0Jos\u00e9e\u00a0Deshaies\u00a0gets in close to drag queens bedecked in thrift-store glamour shaking their asses with self-celebratory abandon. The sensual pleasure of dancing is a gorgeous motif.)<\/p>\n

Read more What Elle Fanning Wants for the Second Season of \u2018Margo\u2019s Got Money Troubles\u2019<\/a><\/p>\n

\n\tMisinformed reports circulated while Sachs was in production indicating that\u00a0The Man I Love<\/em>\u00a0was to be a musical. That was never the case, though the handful of vocal interludes are an integral part of the movie\u2019s graceful flow, edited by longtime collaborator\u00a0Affonso Gon\u00e7alves, who has been working with Sachs for more than 20 years.\u00a0<\/p>\n

\n\tThe title song is featured when the club\u2019s drag emcee invites Jimmy up on stage to deliver a lovely, wistful rendition of the Gershwin standard. But even more affecting than that torchy number is Jimmy\u2019s performance, accompanying himself on accoustic guitar at his parents\u2019 wedding anniversary party (to which Dennis was not invited), of folk-pop goddess Melanie\u2019s 1970 hit, \u201cLook What They\u2019ve Done to My Song, Ma.\u201d<\/p>\n

\n\tIn another standout scene, the afterglow of that evening with her brother fades abruptly when Brenda gets back to the hotel and tells Gene how happy she is to see Jimmy almost back to his old self. Moss-Bachrach plays the husband as the soul of kindness and supportiveness, though Gene is also a pragmatist, reminding his wife that Jimmy\u2019s health won\u2019t stay that way. There\u2019s no callousness in his words, just a far-sighted urge to prepare his wife for the crushing loss ahead. Likewise, his son, who adores Uncle Jimmy.<\/p>\n

\n\tProbably the film\u2019s most funny-sad scene is a monologue exquisitely shaped by Sachs and his regular co-writer Mauricio Zacharias in which Jimmy asks Billy to shoot a video of him (the camera was a gift from his uncle) as an anniversary message for his parents.\u00a0<\/p>\n

\n\tIt starts out as an acknowledgment of all they have done for him, though soon pivots into an unburdening of all the lies he told them and his adventures with alcohol, drugs and sex, not stinting on the details. When Gene overhears the gist of what his impressionable son is recording, he can\u2019t get the boy out of the room fast enough.\u00a0<\/p>\n

\n\tHaving moved to New York City around the time the movie is set, Sachs clearly has a personal investment in lives like those of Jimmy and Dennis and even the selfish faux-innocent Vincent. That third point of the love triangle is played with the dreamy invulnerability of youth and a refusal to consider consequences by talented newcomer Ford.\u00a0<\/p>\n

\n\tA scene in which Dennis verbally lays into Jimmy\u2019s new lover about treating it all like a game is one of relatively few examples of major dramatic fireworks and all the more hard-hitting for it.\u00a0Vincent\u2019s sputtering self-justification that Jimmy is alive and he\u2019s an artist who wants to fall in love \u2014 \u201cHe wants to fall in love with me<\/em>\u201d \u2014 leaves Dennis, who has witnessed his partner near death, speechless. A later scene played by Sturridge with raw exposed nerves at the hospital crushed me, as did a tender moment when Dennis bathes Jimmy.<\/p>\n

\n\tSachs has not made an AIDS movie we\u2019ve seen a million times, largely because it\u2019s not so much a movie about death as one about wringing every last drop out of life, whether it\u2019s fuel for creativity, love or one last surge of passion and pleasure. That said, Malek\u2019s performance as Jimmy approaches the end is the best work he\u2019s ever done \u2014 one scene, in particular, is a heart-stopper that will remind many viewers of a classic similar scene with Ronee Blakley in\u00a0Nashville<\/em>.<\/p>\n

\n\tAs if picking up on that cue, the movie closes with Blakley\u2019s song \u201cLightning Over Water,\u201d from the film of the same name co-directed by her then-husband Wim Wenders with Nicholas Ray. Anyone who knows the singer only from her twangy country tunes in the Altman film will be startled by her electrifying vocal performance, building through a spoken-word opening with the cadences of a beat poem to exhilarating full force in a crescendo where she sounds like Patti Smith and Grace Slick rolled into one.\u00a0<\/p>\n

\n\tIt\u2019s hard to imagine a song that more clearly evokes someone clutching onto one life with resilient defiance, attempting to delay as long as possible the inevitable migration into the next. It goes instantly into my running list of all-time great outro choices.<\/p>\n

Read more How the \u2018Summer House\u2019 Finale and \u2018In the City\u2019 Premiere Meet This Bravo Moment<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Rami Malek stars as a queer stage artist in 1980s New York in ‘The Man I Love,’ Ira Sachs\u2019 tender drama also featuring Tom Sturridge and Rebecca Hall.<\/p>\n","protected":false},"author":1,"featured_media":319,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[24,8,13,25,369,370,371,372,373,374],"class_list":["post-320","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting","tag-cannes","tag-cannes-2026","tag-cannes-film-festival","tag-cannes-film-festival-reviews","tag-ebon-moss-bachrach","tag-ira-sachs","tag-lgbtq","tag-rami-malek","tag-rebecca-hall","tag-tom-sturridge"],"yoast_head":"\n\u2018The Man I Love\u2019 Review: Rami Malek Is a Revelation in Ira Sachs\u2019 Achingly Observed Portrait of Art, Love, Desire and Mortality in 1980s New York City - US Property Moves<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uspropertymoves.com\/?p=320\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018The Man I Love\u2019 Review: Rami Malek Is a Revelation in Ira Sachs\u2019 Achingly Observed Portrait of Art, Love, Desire and Mortality in 1980s New York City - 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