A backpacker seeking a place where he belongs finds himself entangled in a relationship with a polycule of actors plotting to kidnap a US Ambassador.
There are times when queer representation in film can be a bit of a caricature. The plot itself is basically about these characters and their lives, with the fact that they’re LGBTQ+ being the central focal point without much else happening. Meanwhile, straight cisgendered characters get to be anything they want, beyond their sexuality or gender identity. That’s where LGBTQ representation becomes so important both in front of and behind the camera, and why Underground Orange is a fabulous depiction of what can be accomplished when representation is at the forefront of the filmmaker’s goals. Instead of being an LGBTQ movie about LGBTQ people, it’s a unique and fully interesting plot that goes beyond just the identities of the characters. Depicting relatable characters in a world that feels both whimsically dreamlike and starkly realistic, addressing important issues big and small while also having a light-hearted and enjoyable vibe. And the best part is, we’re given a true look at a polyamorous relationship without the Hollywood gloss. It’s real, touching, fun, and enjoyable all around.
And it’s all thanks to Michael Taylor Jackson, who is an absolutely incredible talent and one to watch. Writing and directing Underground Orange, he brings a levity and humor to the story that manages to encapsulate a realism that is far too often lost on representative LGBTQ films. It’s moving and endearing, without ever being heavy handed or corny, and you can actually feel the love for the material in every frame and scene. He’s genuinely talented and has a strong voice in his storytelling.
Oh, and he also plays the lead character, Yankee, who was my favorite character in the film. He’s sweet and sincere, in addition to being lovable and really well developed. The entire cast is wonderful, as well. Sofía Gala Castiglione is phenomenal, Vera Spinetta is superb, Gianluca Zonzini is spectacular, and Bel Gatti is perfection. They’re all cast amazingly well, giving performances that make the cadre of actors feel like home, even to someone who isn’t polyamorous, and we’re offered a window into their lives through these characters that never feels fake or unrealistic. Instead, it’s all about the truth and reality of polyamorous relationships, compounded with a fun and original story, and I would love to see more films of this genre.
That said, the cinematography could use a little work in places, though it feels more like budgetary constraints than lack of skill. Shots are framed and lighted well, but the unsteady camera could’ve used a little stabilization in certain sequences. Still, the nighttime shots are rich and the daytime ones are brightly colorful. We also get plenty of enjoyable music and scoring, and the set design is perfectly done.
Overall, Underground Orange is one of those rare films that doesn’t make it a point to be an LGBTQ film, but instead is “casually LGBTQ” with the central focus being on the plot instead of explaining how polyamory works. It’s enjoyable from start to finish, and it really touches your heart.