Unicorns feels like the perfect title for the new film from James Floyd and Sally El Hossaini (this is the former’s directorial debut and the latter’s follow up to the Bafta winning The Swimmers ) as they have reared a rare mythical beast of a film. They have created a love story which feels truly unweighted by prejudice, unburdened by social norms, and unencumbered by the intransigent binaries which still shape most identities.
The film begins with mechanic and single father Luke (Ben Hardy) as he tries to find a toilet restaurant but instead ventures through a Narniaesque corridor into an Asian nightclub. There he becomes immediately infatuated and starts necking on with a dancer Aisha (Jason Patel). The only issue is that Aisha is a drag queen who goes by the name Ashkar in her daily life. When Luke connects these dots together by way of Aisha’s Adams apple he flees in terror. However, when Aisha needs a new driver to ferry her about to her shows she tracks Luke down to his garage and convinces him take on the job.
Unsurprisingly, what follows is a blossoming romance the basic plot points of which have been fodder for so many romcoms. However, what proves so remarkable is the confidence with which the film eschews scenes of confused identity, internal reconciliation, and acts of coming out a more conventional film would likely have followed. Instead, audiences are treated to a more magical and quietly revolutionary story about the transcendent power of love to outstrip artificial social boundaries.
Unicorns is a film which does not seek to explain its characters in binary terms, but instead invites us to embrace their complexity wholeheartedly. Neither Luke’s attraction to Aisha, nor Aisha’s identity as a woman, ever needs to be rationalized with their realities as a straight or biological man. Their feelings for each other are the only reality which matters, and the film shows how little labels matter in the wake of overwhelming passion. Watching the film, I found myself wondering how potential plot points would be tackled only from them be brushed through with ease, demonstrating how fundamentally unimportant such questions were.
The film is an absolute joy to watch not only thanks to its narrative, but also its style which fizzes over with pulsating dance sequences and zippy dialogue. The film invites both us and Luke into Aisha’s ‘gaysian’ world, and embeds us within its community with warmth and a wry awareness which upends both Luke’s, and I’m sure many our own’s, lingering prejudices.
However, for all its elation and joy there is also a weight to the film as we witness the frightening side to Aisha’s life, which includes death threats and dancing for wealthy and seedy closeted men. One dance sequence during a clandestine party perfectly encapsulates this tension as it oscillates between the enthralling and terrifying.
Despite its moments of darkness Unicorns will without doubt leave audiences uplifted. It is a raucous celebration of human fluidity, and a reminder our lives would be improved if we loosened our fixation with labels. In truth Luke and Aisha’s relationship, and the malleable attitudes it entails, may always be more of a mythical Unicorn than an everyday reality. But in the space of this film it feels as real and life-affirming as anything.
Unicorns is out in UK cinemas 5th July 2024