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Movie Review

Gay-centric Fire Island hilariously rejects and reinforces rom-com stereotypes

Alex Bentley
Jun 2, 2022 | 3:30 pm
Margaret Cho, Tomas Matos, Bowen Yang, Joel Kim Booster, and Matt Rogers in Fire Island. play icon
Margaret Cho, Tomas Matos, Bowen Yang, Joel Kim Booster, and Matt Rogers in Fire Island.
Photo by Jeong Park courtesy of Searchlight Pictures

Unlike more repressed periods in history, it is no longer taboo to have gay characters in major movies. And while the number of lead characters who are LGBTQ+ has steadily increased in recent years, few mainstream films have centered their story around gay culture. If the new Hulu film Fire Island and the upcoming Bros are any indication, 2022 appears to be the tipping point for those kinds of stories.

Fire Island centers on a group of friends who are taking their annual trip to the titular location, situated just south of Long Island in New York. Noah (Joel Kim Booster) and best friend Howie (Bowen Yang), along with Keegan (Tomas Matos), Max (Torian Miller), and Luke (Matt Rogers), always stay at the house of their friend Erin (Margaret Cho).

The week they go to Fire Island is kind of like spring break and Mardi Gras mixed into one for the gay community, with men coming from far and wide to let loose and hook up. Noah, who has a freer attitude about sex than Howie, is determined to find his friend a one-night stand while they are there. One such man, Charlie (James Scully), appears to be a good prospect, but it’s Charlie’s friend Will (Conrad Ricamora) who ends up complicating matters for Noah himself.

Directed by Andrew Ahn (Driveways) and written by Kim Booster, the film alternately repudiates and reinforces the stereotypes of romantic comedies. On one hand, the idea of monogamy seems to be anathema to nearly everyone in the film, with some characters switching their interest in other men at the drop of a hat. On the other hand, the filmmakers clearly follow the rom-com rules of two people hating each other at first only to realize how much they like each other later, something that’s been a staple throughout film history.

If you weren’t already comfortable with the sight of glistening, half-to-totally-nude men, the film forces you get there quickly. Almost from the moment the group steps on the ferry to get to the island, shirts become optional. Every get-together/party throughout the week adheres to the same dress code, and there are even glimpses of men having sex that goes beyond what’s typically been shown in previous gay-centric films.

But even as they immerse the audience in this one aspect of gay culture, the filmmakers do a great job of establishing the two main friend groups in the movie. They use several hilarious recurring jokes, set up a couple of mildly villainous characters, and keep the dynamics light while still allowing for some conflict. Not all of it is 100 percent believable, but because they take the time to get to know the important people in the story, everything the characters do is relatable.

The film also takes on race and class issues to a certain degree. There are a few scenes that address the “otherness” of Noah and Howie, who are both Asian, further showing their bond in a world that is dominated by white men. The difference between the haves and the have-nots on Fire Island is demonstrated in the types of houses and parties different groups have at their disposal, but the filmmakers never choose the heavy-handed route in those scenes, either.

Kim Booster is a stand-up comedian who’s been building up a nice acting career in the last few years. This is by far his highest profile role to date, and he knocks it out of the park. Yang, who’s quickly become one of the go-to cast members on Saturday Night Live, is equally good, especially because his role is toned down from the ones he plays on SNL. All of the supporting actors do well, but Cho, Ricamora, and Matos make the biggest impressions.

Every character in Fire Island is gay and thankfully none of them are saddled with any drama beyond the romantic/sexual ones they cause for themselves. The film plays out in similar fashion to other rom-coms you’ve seen before, but it stands out due to the characters and the big laughs they provide throughout.

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Fire Island debuts on Hulu on June 3.

Margaret Cho, Tomas Matos, Bowen Yang, Joel Kim Booster, and Matt Rogers in Fire Island.

Margaret Cho, Tomas Matos, Bowen Yang, Joel Kim Booster, and Matt Rogers in Fire Island
Photo by Jeong Park/courtesy of Searchlight Pictures
Margaret Cho, Tomas Matos, Bowen Yang, Joel Kim Booster, and Matt Rogers in Fire Island.
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Movie Review

Nordic film Fjord challenges cultural and linguistic biases

Alex Bentley
Oct 23, 2026 | 11:20 am
Sebastian Stan in Fjord
Photo courtesy of Neon
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In modern society, where fear of “the other” has made many people into insular creatures, it has become easy to get locked into one point of view. The new film Fjord will be a challenging one for many viewers, as it puts forth a situation that confronts narrow-minded thinking and forces even those who think they’re open-minded to re-evaluate their own biases.

Mihai (Sebastian Stan) and Lisbet (Renate Reinsve) are a married couple who have just moved back to Lisbet’s home country of Norway. They have five children, all of whom were born in Romania, Mihai’s home country. The family, which is part of an unspecified Evangelical Christian sect, runs into issues almost right away when their oldest daughter, Elia (Vanessa Ceban), shows up to school with bruises on her body.

A well-intentioned but perhaps overzealous Child Protective Services system gets put into motion, resulting in the children being removed from the home while Mihai and Lisbet are being investigated. The parents, while acknowledging some minor physical punishment, deny doing anything that would cause bruising, and the possible failings of the system mostly get ignored despite a lack of hard evidence.

Written and directed by Cristian Mungiu, the film is an infuriating watch due to its depiction of a system that seems to be oblivious to its own faults. But it’s also illuminating, as the cultural and linguistic divide that exists between the characters in the film could just as easily be applied to those viewing it. Misunderstandings arise as people switch between Norwegian, English, and Romanian, and interpretations of different words or phrases play a crucial role in how people and actions are perceived.

But the film is about much more than just language mix-ups. Mungiu is purposefully vague about Mihai and Lisbet’s religion, but it’s clear that it leans conservative. This puts them at odds with a liberal society in Norway, and more than one character voices their disapproval of the family’s beliefs. The film is framed in such a way, though, that it’s those who are seemingly most progressive who can’t get over their own prejudices, with Mihai and Lisbet rarely being able to object to how they’re being treated.

The cold and forbidding landscape adds to the drama of the film, especially when Mungiu includes side stories from Mihai and Lisbet’s neighbors about, for example, a rebellious neighbor daughter or their ailing father. While those elements don’t impact the plot much, they add complexity to the film as a whole and demonstrate that some characters are more than who they seem to be on the surface.

Stan, who’s had notable roles in recent years in A Different Man and The Apprentice, puts in another solid performance that is less showy. With a bald head and stoic-but-firm demeanor, he brings depth to a potentially unlikable character. Reinsve, coming off the success of Backrooms, is the emotional center of the film and demonstrates chemistry with Stan after co-starring in A Different Man. The supporting cast is all solid, especially the actors portraying lawyers, who bring to life a system that seems much different from that in the U.S.

Fjord does not play out like a typical American film would if it were depicting a similar situation, and by holding back where western storytellers wouldn’t, it allows viewers to make up their own minds on who is right or wrong. Many things go unspoken in the film, and the debate on what should happen with Mihai, Lisbet, and their family continues even after the film ends.

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Fjord is now playing in select theaters.

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