Carmen Emmi’s directorial debut, “Plainclothes,” offers a compelling exploration of identity and internal conflict, set against the backdrop of 1990s America—a time when LGBTQ+ rights were still in their formative stages. The film centers on Lucas, portrayed by Tom Blyth, a young undercover police officer assigned to covertly entrap gay men in a local shopping mall. Lucas’s outward confidence masks a profound internal struggle as he grapples with his concealed sexuality within the rigid confines of the police force.
Premiering at the 2025 Sundance Film Festival in the U.S. Dramatic Competition section, “Plainclothes” immerses viewers in a sobering and gritty narrative. Cinematographer Ethan Palmer frequently focuses on Lucas’s expressions, capturing his meticulous observations and interactions as he lures unsuspecting men into compromising situations. Off duty, Lucas cares for his mother, Marie (Maria Dizzia), and reflects on a recent breakup where he hesitantly confessed his attraction to men.
The narrative takes a pivotal turn when Lucas encounters Andrew, played by Russell Tovey. Andrew evades Lucas’s initial attempt to entrap him but leaves behind a note with his phone number, stating, “Give me some time to return your call.” This encounter ignites a series of events that challenge Lucas’s perceptions and desires.
Emmi employs a distinctive storytelling technique, interspersing the present-day narrative with grainy, lo-fi VHS-style flashbacks from a New Year’s Eve gathering. These visceral glimpses into Lucas’s past juxtapose his current experiences, highlighting his internal turmoil and the haunting nature of his undercover assignments. While this method effectively conveys Lucas’s sense of déjà vu and introspection, its repetitive use occasionally disrupts the story’s flow.
Despite these narrative choices, Tom Blyth’s portrayal of Lucas stands out as the film’s cornerstone. He masterfully conveys the character’s deep-seated anxieties and the constant fear that accompanies living a double life. Lucas’s internal conflict is palpable, as he remains ever-vigilant, aware that any misstep could expose his true self. Russell Tovey complements Blyth’s performance, bringing depth to Andrew, a man who challenges Lucas to confront his own desires and the ethical implications of his actions.
“Plainclothes” delves into themes of self-acceptance, the murky ethics of entrapment, and the personal cost of living a lie. The film culminates in a powerful and satisfying conclusion, leaving audiences with much to ponder about identity and the societal pressures that shape our lives.
In summary, “Plainclothes” is a well-crafted coming-of-age drama that offers a raw and unflinching look at the struggles of a closeted gay man within the law enforcement community of the 1990s. Elevated by Tom Blyth’s standout performance, the film is both thought-provoking and emotionally resonant, marking a promising start for Carmen Emmi’s directorial career.
