Critic Reviews

Aspects of the plot do feel predictable, there’s no getting around that. But “Solo” is too smart of a film to be held back by contrivance. With nods to “All About Eve” and classic Douglas Sirk-style melodrama, the gradual unraveling and backstage backstabbing paints a picture of how the damage queer trauma leaves behind can shape us differently from person to person.

Solo celebrates love within the queer community, and it does so beautifully. But what's even lovelier about Solo is that it's a film about finding that love within yourself first.

Solo largely succeeds, thanks to Dupuis’ confident handling of the tonal shifts between off- and onstage scenes in a series of stylishly lit interiors. The performances feel grounded and credible, with Pellerin especially good in revealing Simon’s contradictions, between anxious vulnerability and resilience.

Drag is a form of self-expression, an act of political defiance and a means of reinvention in Solo.

Through Dupuis’s eye, this story is empathetic and involved, and this feeling persists despite disorganization’s attempt to shake its structure.

Solo is most intriguing when its romantic rivalry takes center stage.

Simon’s drag spectacles may be intentionally fierce and operatic, but there’s something refreshing about this drama’s intimate scale and lack of interest in sweeping tragedies, especially in the context of queer cinema.

Even if some viewers might grow impatient with Simon’s passivity in the face of endless microaggressions, there’s enough tenderness, heart and ultimate self-realization in Solo to keep you watching.