Some people are born to be a part of a community, others have to spend their formative years navigating a hostile world to find a sense of belonging. In both cases, it is clear that we all exist to fit in somewhere, even if only on the margins, and finding the right place for ourselves can be a daunting challenge, especially if we don’t meet the standards set by a particular culture and what they view as the ideal definition of a functional individual. This very common subject is the centre of the conversation conducted by Luke Gilford in National Anthem, which serves as his directorial debut, telling the story of a reserved young construction worker who is hired to work at a remote ranch as a means to support his alcoholic single mother and impressionable younger brother, both of which depend on his income for their survival. He is surprised to discover this ranch functions as a safe haven for the queer people of the nearby community, who have found their home amongst in this arid landscape, which extends to the protagonist himself, since his introduction to an enigmatic trans woman causes him to question his own sexuality, as well as feel the sense of community his life previously lacked. A carefully-crafted social realist drama that immediately situates the director as someone with a unique vision and the willingness to have some genuinely difficult conversations, National Anthem is a powerful work of fiction that is not only exceptionally moving, but unquestionably a vital piece of contemporary storytelling, based on its ability to touch on some timely concepts, presenting them in a manner that is unorthodox but incredibly captivating, showing us a wildly different side to a topic that is widely discussed, but rarely from such a compassionate and empathetic angle, which immediately sets this film apart from the wealth of recent films that form the renaissance of queer narratives we see in much of contemporary cinema, standing head-and-shoulders above so many other films that have attempted to capture the emotions that are embedded right at the heart of this truly touching story. 

For as long as films have been made, there has been an effort to craft the definitive American story (the same principle applies to just about every medium), since the majority of artists strive to be known as the person who crafted the most accurate depiction of a particular culture. However, the reason why there isn’t a clear victor for the defining work of the national experience is simply because it is beyond impossible to condense hundreds of years of history, and millions of individual stories that are as diverse as they are scattered throughout the past, into a single work. Instead, we can perhaps look at it from the perspective of the American experience being the subject of an ongoing project, consisting of a number of works that stretch from the dawn of settlement thousands of years ago, to the present day, and will likely never be complete. This is where National Anthem fits in perfectly, since it is one of the most stark depictions of this concept in practice – it is set in an indeterminate part of the country, and follows a very small group of individuals, mainly consisting of members of the LGBTQIA+ community. Even within the act of focusing on queer issues, the film acknowledges that it is limited, since it only offers a few perspectives, and never claims to be thorough or complete. Instead, it presents an intentionally imperfect snapshot of a small portion of the community, using it as the foundation for a thrilling, captivating coming-of-age story about a young man questioning his identity, which comes about through being immersed in a marginalised community. He is an outsider, someone who has been able to navigate the world without drawing too much attention to himself, but yet he is still welcome in this sanctuary, which is where he truly comes to discover who he is inside through seeing a different side of the world he previously struggled to comprehend. Queer issues are constantly being presented in contemporary media, which is part of an active effort to not only normalise these stories, but present them as being just as vital as any other. Gilford works closely with a range of talented artists on both sides of the camera to capture the intricate details of the protagonist’s journey, creating something that is both specific in the context of the socio-cultural setting and also somehow universal in some of the ideas being explored.

The aspect that anchors National Anthem and allows it to flourish so beautifully is unquestionably the cast – the film features an ensemble consisting of mainly queer actors, who are given the chance to play quite different roles from what they would usually be given, particularly since the decision to tell a queer story that exists outside the urban environments in which they are usually set opened up entirely new possibilities for the actors and the kinds of roles they were tasked with playing. The idea of some utopian haven in the middle of the desert existing as a safe space for queer people from all walks of life may seem idealistic, but its the actors that make it convincing. Charlie Plummer leads the film, and while he has arguably made a career for himself playing these reserved young men navigating the harsh realities of their daily life, he continues to be a very impressive performer, with his ability to pick up on the subtlest of cues and reworking them into the foundation on which he builds his entire career being a clear sign of his talents. The two bigger supporting parts that factor into the narrative and help propel it forward come on behalf of Eve Lindley, as the protagonist’s love interest, and Mason Alexander Park, as the wise, slightly older mentor to the other characters. The film very smartly makes sure that it doesn’t only dwell on Plummer, but gives a lot of depth to the other characters – Park is quite simply one of our most exciting young voices, and their performance here is remarkable, being funny and tender in equal measure and having a genuine sense of gravitas that pushes it ahead. Conversely, Lindley is an absolute delight, an effervescent bundle of charisma that shines brightly on the screen, and has a depth that is difficult to overlook or ignore. The rest of the film has some wonderful smaller parts, most of them occupied by non-professional actors drawn from the queer community, and every one of them is exceptional, capturing the tone of the film and bringing their own experience to a story that only benefits from their beautiful, poetic work.

Many complex mechanisms went into the creation of National Anthem, especially in terms of making it seem not only realistic, but leaving a stark impression on the viewer. Gilford has not previously directed any narrative films, with most of his work being within the realm of music videos – but that in itself is quite an encouraging element, since it is a medium that often finds ways to convey entire stories in only a few minutes, requiring a perfect balance between the themes chosen to represent a particular work, and the more creative components. It is clear that this film is directed by someone who worked mainly outside the film industry, based on the stylistic choices made in bringing this story to life. On the surface, it seems like quite a conventional social realist film, with the grittier, more unfurnished aesthetic matching many similar films. However, we soon come to discover that this is a film driven less by the narrative (which is nonetheless very strong), and more focused on the mood – National Anthem is an atmospheric drama in which the smallest, wordless interactions are sometimes the most powerful and poetic moments, and contain the most beautiful depictions of the human condition. Contemporary independent cinema has allowed so many young filmmakers to craft their visions in increasingly exciting ways, and this film draws inspiration from several previous social realist dramas that aimed to capture the true essence of existence, focusing less on the spectacle and more on the small details that coalesce and create a vibrant portrait of day-to-day life, which can even be confusing for those who have not quite figured out their identities just yet. It is rarely heavy-handed, and absolutely every emotional cue is well-placed within this film, preventing it from falling victim to the tropes usually associated with this quiet, more personal brand of literary realism, which makes a considerable difference in developing this film and its underlying themes.

There are countless films scattered across film history that could feasibly bear the title of National Anthem, an ambitious way to label your film – so we ultimately have to wonder whether this film, a small and intimate story of queer desire and questioning one’s identity, is the most appropriate use of such an intimidating title. There is very little doubt that it isn’t only appropriate, it is perfectly fitting – as said previously, America is more than just the idealistic view based around conservative heteronormative views, and there are entire communities that have lived in the shadows for decade, and only now have the opportunity to have their voices heard. This is their story, their national anthem in which they provide a beautiful, complex rallying cry that not only signals their arrival, but makes it very clear that they are here to stay, their voices refusing to be silenced or made any less joyful, despite the challenges they face from a society that is still somewhat lacking in progress. Gilford challenged himself to craft something that not only told this hauntingly beautiful story of a young man discovering his identity, but also capturing what it feels like to be adrift in a confusing world, forced to be a square peg in a round hole, and the catharsis that emerges once you feel that elusive sense of belonging. It’s a striking film that contains many very deep emotions, and sometimes may veer towards the melodramatic in a couple of instances – but its all part of the incredible layers of detail that propel this story, which is about how life is a series of moments defined by joy and heartbreak, and that navigating existence is not about trying to achieve one and avoid the other, but rather finding the right balance and acknowledging that some days are going to be more difficult than others. It’s a simple message, but one that leaves a profound impression and sits at the heart of this truly empathetic, compelling drama that is both intimate and sprawling, based on the perspective of the viewer.