When all is said and done, all we have that is truly our own is our identity – material possessions don’t last forever, friends (and even family) come and go, and achievements ultimately mean very little. All we can hold onto in challenging circumstances that can never truly be taken away is our own inner sense of self-worth and identity. Yet, in this current political and cultural landscape, even this is at risk of being challenged, particularly by those who feel it is their place to put down roadblocks to prevent others from living authentically and with purpose. This is the premise behind Ponyboi, a film that challenges and provokes while also providing a meaningful glimpse into the lives of people who are simply trying to exist. The second directorial outing of Esteban Arango (who is clearly fascinated by stories of communities living on the margins of contemporary American life), who works closely with writer River Gallo (who also plays the titular role), the film tells the story of Ponyboi, a sex worker in contemporary New Jersey simply trying to make a living, doing what they can to survive. After one of their clients accidentally dies during one of their meetings (overdosing on laced crystal meth), Ponyboi scrambles to find a solution, and very soon discovers that they could become the victim of  brutal criminal gang, who are very much aware of their existence and will stop at nothing to get what they feel is necessary payback. A film that is both challenging and timely, while still following familiar conventions enough to make it a relatively conventional work, Ponyboi is a solid film, albeit one that doesn’t do anything particularly different from what we would expect. Instead, it serves as a tremendous debut of someone who is clearly going to become a fixture in contemporary queer and independent cinema, as well as a well-crafted exploration of complex characters trying to survive in a confusing and hostile world, which immediately makes it a genuinely captivating film, even at its most straightforward and simplistic. 

Ponyboi is a film about identity, and how it is always at risk of being erased as a result of the ongoing crusade against anything that falls outside the outdated boundaries of gender and sexuality. This is the foundation of just about every queer film made over the past century, but yet is a point that continues to be made as a result of the fact that those who fall outside of the status quo are continuously assaulted and challenged when it comes to living authentically and on their own terms, which is something that makes all queer art inherent political, whether or not that was the central intention. In the case of this film, we have a gender marker that is hardly ever portrayed on screen, in the form of it being one of the first major productions to feature an intersex character in the central role. There are only a small handful of films that feature intersex characters (whether central to the plot or as a secondary player in the story), and even fewer that are built around showing them as anything other than medical oddities or social pariahs. It’s a tricky subject to even discuss, since the lack of information the general public has about the nuances of intersex identity means that we don’t fully comprehend the subject, leading to an abundance of confusion, something that Gallo and Arango build into the fabric of this film, which explores the trials and tribulations of Ponyboi as they not only grapple with having been involved in an accidental death (which they know will undoubtedly be negatively placed on them – the queer community has often been the victim of being unnecessarily burdened with blame for the wrongdoing of others, solely because its easier to mistreat those who are already seen as existing on the margins), but also their own personal crises, such as the fact that they found out their father – with whom they had a tense relationship for years – is on his deathbed, and simply wants to make amends before he passes. These ideas all come together to create a vibrant and captivating drama about someone navigating a hostile world, while trying to maintain not only composure and sanity, but their safety as well.

It isn’t often that we are introduced to a performer and immediately can tell that they are going to be a star. The quality that usually defines whether or not someone will not only make it in the industry, but become a vital part of it is rare, but when we see it, it can be extraordinary. Gallo is someone whom most of us have not encountered in the past. Their television work is not memorable (as they played very small parts), and other than appearing in a documentary a few years prior, this was their first foray into film acting – and it’s absolutely magnificent to see the arrival of such an essential voice. Gallo wrote Ponyboi, so logically they were the right person to play the titular role – and we can be grateful that the industry has become more inclusive, to the point where someone from the community depicted can play the role, rather than having a more famous star take on the role and be showered with praise for their “bravery”, which used to be far more common. Gallo is a tremendous actor – they have a very specific quality that makes their work so spellbinding to watch, their pure magnetism and effortless charisma commanding the screen. As an openly intersex person (one of the only working in the industry), their perspective was not only valuable in bringing the part of Ponyboi to life, but it also represents a major step forward for those seeking additional representation in an industry that still trivialises the experiences of queer voices. Gallo is joined by a solid supporting cast, which include Dylan O’Brien at his sleaziest, playing the manipulative villain who relishes in taking advantage of the protagonist, as well as Murray Bartlett, as the object of Ponyboi’s affections and seemingly their only ticket out of this banal existence, and a short but unforgettable appearance from Indya Moore, who is playing a very different kind of character, but who is just as enigmatic and compelling as ever. A strong lead performance that serves as our introduction to Gallo, surrounded by memorable supporting players, allows Ponyboi to be a far more compelling, nuanced affair, and gives more credibility to its core themes.

Those seeking something entirely revolutionary in terms of content or form may not find Ponyboi to be a particularly major work or one that challenges conventions in a way that is overly obvious or direct. However, what it does do (and quite well at that) is present its ideas in a direct, forthcoming manner, relying less on the obvious narrative cues and instead on the emotions, which may be quite strong (and bordering on the overwrought), but still have a valuable place in this narrative. This is not a film that is all that focused on redefining the genre so much as it is actively attempting to explore what it means to be an outsider in a world where the only measure of success is one’s ability to blend into their surroundings. Gallo, much like the character they are playing, is someone who proudly stands out, and this film is built on the challenges that someone like them would face, which is naturally fertile ground for a more complex, layered examination of the human condition. The core of Ponyboi is to examine the inner workings of the character’s mind, and while there is no shortage of moments that could be perceived as heavy-handed, the ambition of the piece is really what draws our attention. The director takes inspiration from the “one crazy night” sub-genre, where a character finds themselves in a particular precarious situation, and has to resolve it in what feels like real time. This has always been an appealing way of telling a story, since it feels more urgent and daring, and puts the viewer right at the heart of the conversation, where we feel like we are accompanying Ponyboi on their adventures through a world that is openly hostile to their very existence. The more tender moments may not leave as much of an impression as the rapid-fire, fast-paced sequences that feel like they are plucked directly from an adrenaline-fueled thriller from the 1990s, but they still serve a vital purpose in terms of situating this film in a recognisable reality, which becomes the foundation for a truly effective piece of filmmaking.

The foundation on which Ponyboi is built is defined primarily by taking a community that is not regularly portrayed on screen, and while this is a relatively small sample (statistics estimate that roughly 1,7% of the global population is born with intersex traits), it is still significant enough to warrant representation. Rather than crafting an overly didactic, academic work that draws on heavy emotions and a neverending stream of discourse around identity, Gallo and Arango create a film that functions as more than just a story of a young intersex protagonist seeking a place to call home (both physically and emotionally), but also a fast-paced thriller that is as exciting as it is wholeheartedly moving, having an honesty and authenticity that you simply cannot find being produced all that often. It’s a wonderfully compelling film, and one that shows a lot of compassion – it does help that it was written by its star, but we mercifully find that Gallo is indeed the right person for the role, whose magnetic charisma simply cannot be manufactured, and is a clear sign that they are going to leave an enormous impression on the industry. Conventional but never lacking in nuance, and filled with compelling storylines, a healthy dose of humour and a range of beautifully daring ideas, Ponyboi is a surprisingly solid, well-crafted drama that blends many different ideas, emerging as one of the year’s most intriguing works. It may not be able to entirely overcome its small size, or the fact that it bounces around the same usual tropes we associate with these tense independent thrillers, but the nuanced approach it takes to exploring these ideas, coupled with its willingness to unsettle traditions in the process, are all reasons we can celebrate this fascinating and complex film that not only tells a good story, but offers representation in a way that feels genuinely very moving, even at its most conventional.