Sundance Institute
MOVIE REVIEW
Sebastian (2024)
The young writer at the heart of “Sebastian,” Max Williamson (an astounding Ruaridh Mollica), doesn’t seem to know how lucky he is. As many queer authors in London can tell you (ahem), it’s not usual to find a literary agent based on short stories written in university, nor for your first book to get such rave prerelease reviews that you’re personally profiled in the newspapers, complete with a professional photoshoot. If you have a job freelancing for a serious monthly magazine there’s no way you’d dismiss even the most boring advertorial as beneath your talent, when that writing work affords a London rent. And even if you were the most gilded literary talent in your city, your peers in your creative writing workshop will never, ever applaud your work. They’d nitpick out of jealousy. But having said all that, the device of the ongoing deconstruction of Max’s writing is clever meta-critique of the plot of “Sebastian,” in which this young man with such obvious talent decides to risk it all by delving into sex work. Gay sex work, no less. It’s a tremendous high wire act; and it’s a testament to the bravery and skill of everyone involved that the movie succeeds completely.
