Enzo Film Dives Deep into Queer Desire: A Subtle Masterpiece Unveiled

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As a cinephile, I’d rephrase the given text like this: In my teen years, rebellion isn’t usually about embracing work, but for 16-year-old Enzo (Eloy Pohu), that’s exactly what he does. Instead of causing mischief with friends or lounging in his parents’ contemporary villa with the glass walls, he spends his days side by side with men older than him, mixing concrete and laying tile. In “The Tube,” the opening film for Cannes Directors’ Fortnight, Enzo’s yearnings simmer beneath the surface as he navigates his role in life and grapples with his intricate feelings towards his coworker Vlad (Maksym Slivinskyi), a Ukrainian man seeking refuge from his war-ravaged homeland.

Enzo Underscores Its Titular Character’s Complexities

As a cinephile, I’d say there’s a simmering intensity beneath the calm exterior of “Enzo”. Unlike some films that amplify tragedy or despair for dramatic effect, this one maintains a subtle tone, mirroring the reserved nature of its central character – a lad of few words whose facial expressions barely betray the intricate feelings of his youth that are in a perpetual state of change.

Above all else, Enzo yearns for approval from his fellow construction workers, disregarding his father’s worries about his safety while his mother continues to pamper him unconditionally. Neither of Enzo’s parents seem particularly strict in their outlook on life. His mother doesn’t seem to mind when she returns home to find Enzo playing in the pool with a girl. His father, however, only gets stern when he encourages Enzo to apply for art school or some other educational path, believing these skills to be more valuable than the ones Enzo is currently learning.

Later comes Vlad, a man of chiseled muscles and sun-kissed skin, who befriends Enzo. He flashes Enzo pictures of women on his phone and proposes they go clubbing with his Ukrainian companion. Despite the bouncer refusing him entry, Enzo considers it “the best night of [his] life.

Enzo’s feelings towards Vlad go beyond typical workplace camaraderie. He is mysteriously pulled toward the man, perhaps because Vlad respects him as an equal, unlike his parents who often treat him like a child. Remarkably, Vlad doesn’t dismiss Enzo’s ambition to work in construction, even when he learns that Enzo could live comfortably without lifting a finger for income.

As a devoted admirer, I appreciate how subtly Enzo explores the nuances of queer desire. It’s not about intense displays, but rather those fleeting glances and gentle touches that can be as sensual, if not more so, than anything else. Homoerotic tension certainly abounds in this work, yet it’s skillfully woven into Enzo’s broader character development, which delves far deeper than merely his sexual identity.

It’s clear that Enzo’s parents, portrayed by Pierfrancesco Favino and Élodie Bouchez, might be accepting if he were to openly express himself. This makes Enzo’s journey more tangible and poignant. Sometimes, the weight we carry is self-imposed, not stemming from those around us but from internal conflicts caused by competing thoughts within our minds. Enzo grapples with external pressures, notably from his father and his brother Victor, who is depicted studying diligently in the film before a significant clash occurs during Victor’s celebration for being accepted into a Parisian university.

Enzo struggles internally due to the high expectations he sets for himself, and Eloy Pohu’s nuanced behaviors – such as his casual dismissals of parents, furtive glances, or sudden impulsive decisions – give Enzo a palpable mix of doubt and overconfidence typical of a 16-year-old boy. Remarkably, the young actor handles this delicate dance with poise.

The self-imposed pressure on Enzo makes him crumble inside, while Eloy Pohu’s subtle actions – like ignoring parents, looking away, or making quick decisions – make Enzo feel uncertain and overconfident at the same time, which is normal for a 16-year-old boy. Despite this challenge, Eloy handles it skillfully.

Enzo marks the last joint work by director Robin Campillo and screenwriter Laurent Cantet; unfortunately, Cantet passed away from cancer in April 2024 prior to filming. Campillo pays tribute to his late partner through this production, set against a backdrop of rebellion, which explores the friction between aspirations and truth. The film concludes on a graceful yet understated note that is both optimistic and strikingly authentic in its viewpoint.

Enzo premiered at the 2025 Cannes Film Festival.

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2025-05-14 21:31