It's Valentine's Day in the early
2000s, marked by Rudy Giuliani's influence on New York politics and the ongoing
recovery from the events of September 11. Discussions about a memorial and
other commemorations are underway. Across the river, bus drivers are on strike,
and a self-proclaimed "Jersey girl"
engages in a tryst with a trucker in the parking lot of a New Jersey Turnpike
gas station. In this scene, Ponyboi (portrayed by newcomer River Gallo)
energizes their client with theatrical ad libs, only to receive a request from
the stout john to tone it down and speak less.
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| 'Ponyboi' |
This amusing and tension-filled opening scene captures the essence of Esteban Arango's film "Ponyboi." Premiering at Sundance in the U.S. Dramatic Competition and written by River Gallo, who identifies as intersex and uses they/them pronouns, the film reimagines the crime drama by featuring an unconventional protagonist with depth and a touch of humor.
Gallo's screenplay achieves a rare
feat in an industry grappling with inclusion issues, seamlessly integrating the
character's identity challenges into a compelling narrative about a sex worker
on the run. Gallo's strong performance introduces audiences to a new hero worth
cheering for. While the film occasionally succumbs to predictability and
contrivance, it overall delivers a polished and engaging experience.
"Ponyboi" unfolds the intense and frenetic 24-hour escapade of its protagonist, Ponyboi, an intersex sex worker evading his pimp (a transformed Dylan O’Brien) and confronting his past. Throughout this journey, Ponyboi grapples with shaping a self-image that aligns with his true identity, amidst societal expectations. Arango's film immerses viewers in a New Jersey fever dream, a kaleidoscopic vision that elicits damp sheets and clammy hands.
The narrative begins at a
relentless pace, with Ponyboi engaging in a sexual encounter with a Turnpike
client, triggering memories of his younger self in a hospital bed surrounded by
parents and surgeons. A foreboding statement about turning Ponyboi into a
"real cowboy" hangs in the
air, echoing themes of authenticity and the burden of masculinity that permeate
the film. As an intersex character, Ponyboi grapples with societal pressure to
conform to binary norms. Despite his cascading curls and glittering eyeshadow,
which lead people to perceive him as trying to be a woman, Ponyboi regularly
takes testosterone hormones and is drawn to the imagery of cowboys.
After completing a job and collecting payment, Ponyboi proceeds to his second gig at a roadside laundromat. There, he encounters his best friend Angel (Victoria Pedretti), who is pregnant with Vinny's (O’Brien) baby and plans to spend Valentine’s Day with him. Angel gifts matching friendship bracelets to Ponyboi, expressing assurance that he will find love despite spending the holiday alone.
In a twist, Ponyboi is involved
with Vinny romantically, albeit more as an arrangement than a conventional
romance. Despite the imperfections, their interactions exude a subtle
sweetness. The film gains momentum when a client (Stephen Moscatello) dies from
a new strain of meth created by Vinny. Panicking and inspired by an earlier
encounter with a charming cowboy (Murray Bartlett) heading to Vegas, Ponyboi
seizes the moment. After unsuccessful attempts to seek help, Ponyboi
respectfully covers the deceased client with a white sheet, steals the money,
grabs a gun, and embarks on a journey down the open road.
While our nomadic protagonist doesn't cover much physical distance in his Jersey adventure, Ponyboi's journey unfolds with self-revelations and transcendent encounters. The film successfully manages multiple narrative threads, maintaining control until a somewhat uneven third act. Despite a surge of events — the return of the mysterious cowboy and a detour involving a heartfelt moment with Indya Moore from Pose — the conclusion resorts to cliché and contrivance to tie up loose ends. This results in some plotlines, such as the one involving Ponyboi and his parents, feeling underdeveloped, while others struggle to achieve their intended emotional impact.
Nevertheless, River Gallo delivers
a compelling performance as the film's lead, skillfully navigating between
fatal thrill and light comedy. Known from the intersex documentary "Every Body," Gallo adeptly unveils
their character's inner tension, infusing scenes like Ponyboi's attempt to
acquire more testosterone at a pharmacy with a heartbreaking texture.
Esteban Arango's sleek direction
and the film's psychedelic palette contribute to a visually pleasing viewing
experience. Tommy Love's production design and Lucy Hawkins' costuming vividly
bring the gritty underworld of New Jersey to life, enhancing the film's sense
of neo-noir dread. Despite some narrative hiccups, Ponyboi's confidence in its
vision and commitment to its radical narrative make it a cinematic journey
worth embarking on.
