what kills me the most about ryan’s pov is that he knows he’s alone. we could speculate that his parents are emotionally and physically absent from his life; they put him through a public and dubious conversion therapy that eventises his queerness in bad light; the boy kneeling beside him denies his own identity and they never had anything meaningful anyway, nothing that could prompt a heart-to-heart or inspire that quiet kind of camaraderie and understanding—and even if they had they are now drawn apart by their community’s watchful homophobic eye; the boy he actually likes wouldn’t talk to him now out of possible fear of being put through the same humiliating fanfare. besides, would he want to talk to naim if he was caught with another boy? despite how unofficial that thing between them was?
ryan ends up more alone than ever. he has no friends and family to lean on for support. peers avoid him or throw shit at him, and as much as he wants to answer back he can’t give them what they want: an outburst; a reaction; an excuse to fight. his boy act means nothing now that he’s become his town’s dirty little queer pariah. gayness isn’t masculine or manly or forgivable even if he’s their picture perfect foulmouthed boy.
it’s all sad and awful and ryan’s learning to live with it until he starts coming and hurting him too. ryan can do nothing but fight it and accept it in an endless loop of “i want it too, naim” and “stop coming to my house”. the entire time naim and ryan have known each other ryan got his hopes up and had them crushed, up-and-crush and up-and-crush through the mill, the ritual, the funeral, the bus ride, the school bathroom and the truth reveal. he doesn’t get a break and he’s all alone in his queerness and alienation. and unlike naim, he doesn’t put faith or trust into adults to handle or stop the abuse he’s been suffering because he knows they can’t and aren’t willing to help him. because he’s long accepted that this town is too small for who he is.
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perhaps slightly influenced by how stacy is older than joe, but while naim feels very naive—approaching intimacy with a clumsiness in a way that makes it clear he's never dared before—so many of ryan's scenes have him seeming so jaded. he's scared of the entity obviously, but there's this weariness to his terror, a beat-down habituation to all the violence and fear that comes with acting on his desires. ryan has been in this everybody-knows-everybody small town and suffocating church long before naim got there, and likely came to understand his queerness at the same time he was taught it condemned him to hell. the only indulgence of his queer desires he can get is a brutally abusive relationship with the pastor's son, someone in complete denial about who he is and who offers ryan no real companionship.
idk just . ryan is so strikingly mature in contrast to naim and hunter. he knows queerness isn't something that will go away, and understands the sort of life they will live because of it. maybe that's why he finds himself irrevocably enamoured by naim's tenderness and wide-eyed innocence. ryan likes naim because unlike with hunter, outside pressures haven't yet poisoned naim's capacity for gentleness. naim is a ray of light in the dreary sameness of ryan's life in bandee; where he's stuck upholding a masculine facade to fit in with the boys at school who he doesn't actually like, and to appease a community who would shun him if they knew who he actually was. ryan's character arc is harder to grasp since we don't get his pov, but if i had to put forward my interpretation, i would say that while naim's arc is about accepting the unchangable reality of being queer and fear that comes with it, ryan's is rejecting the idea he deserves violence and learning to let go of the place he was raised in.
despite how much focus is put on the boys love for each other, i think people forget ryan effectively abandons naim at the end of the film. i don't think he does this because learning naim outed him killed his feelings, but because naim never telling him is the final slap in ryan's face that confirms naim will always be ruled by his fear. hunter went to his death denying who he was, and ryan cannot bear to bleed for naim knowing that he will always let fear of outsider's judgement dictate whether he reaches for ryan's outstretched hand.
but when naim finds ryan at the bus stop bruised, exhausted, and fearful, ryan forgives him without the need for an apology. because naim crossing the road symbolises what ryan has needed from him this entire time—for naim to accept that queerness comes with risk, and not let it prevent him from having a relationship with ryan. naim's tired smile at the bus stop matches the weariness i felt from ryan the entire time. naim understands now what it means to be queer in a society that hates them for it, and now he stands before ryan and answers "please tell me it's really you" with a simple nod. he never stopped being afraid, but he's finally not letting it dictate his relationship with ryan. he pillows his head on ryan's shoulder showing affection without ryan having to initiate, and closes his eyes because he doesn't care if the people on the bus are watching: he's accepted their reality. and ryan lets his eyes stay closed leans his face into the gentle touch because he trusts naim will stay: finally not alone.
ive been making myself so upset by thinking about ryan...
from the very beginning of the film, naim challenges ryan, without even meaning to. despite it happening off screen, we know that ryan doesn't acknowledge naim at school, but since (presumably) he initiated their meeting outside of school, he definitely doesn't ignore him. he can't stop sneaking glances at naim, thinking about him, being attracted to him.
obviously, we all know that during their first scenes together, he acts tough with naim because it's all he knows. he only feels safe enough to initiate a kiss after having shoved naim around a bit, embarrassed him and physically dominated him by pinning him down. showing that he is sufficiently masculine. but naim completely breaks ryan's worldview by kissing back with gentleness. with care. when ryan pulls away from that kiss, you can see the pure confusion and awe on his face. to him violence and lust are two sides of the same coin, but here is naim, offering one without the other. even naim's rejection when he gets nervous is so gentle. he sits up, nudges ryan away and makes an excuse. if it'd been hunter, ryan probably would have been shoved away or told to fuck off.
so ryan does feel like he's experiencing something new. when naim asks if this is his first time, he says yes. yes, of course it is. he's never felt anything like this before. the fact that it could give naim the wrong idea doesn't even cross his mind, because hunter has never been a genuine want for ryan, more a person to vent his pent up feelings on.
and he can't stop thinking about naim, about how that one day with him, those few hours, changed his worldview entirely. he tracks naim with his eyes a bit more obviously now, watching whenever he can. when naim catches him staring in the church, he can't make himself look away for the longest moment. he wishes that he could skip the humiliation of talking openly about his feelings, that he could directly transmit these thoughts to naim, to his brain, and make him understand.
but soon enough, ryan begins to get in his own head about it. what if that day doesn't mean as much to naim? so he asks, next time they hang out, "do you like it here? what do you like about this place?" it's cliché and stupid, but it'd be too vulnerable to ask what he really means. when naim doesn't get it, he pushes, the already flimsy subtlety of the question fraying with each repetition. "so nothing then? nothing you like about this place?" and naim catches the underlying meaning eventually, his smile turning sly and teasing in a way that makes ryan's heartrate stutter. "nah. nothing." naim says, and even though he's flirting, even though he's leaning in to kiss ryan... ryan still doesn't know for sure if this means anything to naim.
after the ritual, he's visited by the entity, though he can't possibly know that, so he thinks it's naim always coming to hurt him. and ryan is confused by this sudden change, but he doesn't say anything, because it's what he's used to, and what he believes he deserves, and he'd suffer it over and over and over, if he'll be rewarded with naim's lips against his, naim's fingers in his hair, the affection in his gaze. he'd do anything for those gentle hands, even if they sometimes make him bleed.
he's so tender with this new version of naim, simply assuming that perhaps now there's no more walls between them. naim has seen him at his worst, publicly humiliated, seizing in pain, vomiting from the agony of it, fighting for air. despite all the people in that room, they'd locked eyes before naim fled. that vulnerability is difficult to forget. so, sure maybe it isn't the kindest, but ryan figures that naim has also chosen to drop his facade. while ryan dares to be gentle, naim seems to finally be letting himself be cruel. and if that's the real naim? so be it.
until the photobooth. when his entire short life flashes before his eyes as he struggles to breathe around naim's vice grip, he realises that he'll die like this. he'd been letting this boy he loves keep escalating his violence, and now he'll pay for it dearly. so when he's suddenly, inexplicably, allowed air again, he doesn't hesitate. he stumbles away, tears blurring his vision, his bare skin prickling with goosebumps and the unbearable heat of eyes on him, of everyone watching him make a scene. he knows that he has to stop this now.
so when naim chases after him, looking equally horrified and distressed, ryan chalks it up to naim being caught off guard by his own capacity for violence. he knows that naim has discovered what he's capable of, and that next time ryan might not get so lucky. so he begs, in front of everyone. "please don't make me tell anyone. just leave me alone, please." because despite everything, he can't help but love this boy, this awful boy who'd kick him just as soon as he'd kiss him.
so when ryan eventually realises that this violent naim isn't right, isn't him, all he can really feel is relief. relief that naim isn't cruel, that naim's hands are gentle after all. that naim would never hurt him like this. but the real naim comes with his own set of problems. his own entity, for one. but also his own fear and insecurity.
on the way back from the hospital, he expresses his desire to leave. he's so painfully flippant about it, just a simple: "i'll go away." and ryan begs him, "don't go," because it seems that he's always begging naim for something. "i hate that shithole anyway," naim tells him, and ryan tries to ignore that this is the answer to his question from the mill, from what feels like decades ago. that naim hates this place and everything in it, and that ryan himself isn't worth the effort of staying, of trying to make this work. he can't help the bitterness bleeding into his voice when he replies, "i know you do, naim."
but still, he softens within moments, taking naim's hand. "don't go. it's all my fault." he says, wanting so badly to make up for it, for being like this, for getting caught, for getting naim caught, for the entity that wears his face hurting the boy he loves more than anything, for the adults that put them through this, for the heaviness of his own love and desire. he'll repent for it all, if it means naim will have it a little easier. if it means naim will stay.
but naim doesn't seem to get the message, trying once again to leave ryan outside the church, not even a week later. "don't follow me," he says. "you shouldn't be near me. i shouldn't be near you, either." ryan agrees, because he's angry, he's frustrated that he can't get through to naim, and tries to storm off. but he barely makes it past the doorway before he's spinning around, speedwalking right back to where naim is, breathless from how hard his pulse is racing. he knows that he has to say it. he has to tell naim how he feels, or as close as he can manage, or he'll lose him forever. he can't quite manage to look at naim as he speaks (even though he's mercifully facing away), but he says it. he tells naim that he doesn't want anyone else.
what he doesn't tell naim is that it really seems like he hasn't got anyone else. his parents have never been all that attentive, but now they prefer to avoid him altogether. hunter is gone, and ryan's never really had any other friends, and after being outed, he's become an outcast. he has no support, no foundation on which he can balance, not without naim. ryan knows, as surely as he knows himself, that if naim leaves, he'll miss him badly enough to give in to the entity's temptation, if only to see naim's face again, to hear his voice.
that is why ryan forgives naim for his betrayal. because he loves him more than anything. because he knows that naim is kinder than this, that it must've been more complicated than a simple act of cruelty for cruelty's sake. because naim has given him so much, has changed the way he views intimacy and affection, has given ryan solid ground to stand on when no one else would, and it all outweighs his one mistake. how could it not? and now, finally, after trying and trying to run away whenever he got overwhelmed, naim finds ryan at the bus stop. he commits to ryan, to leaving together, to trying to find a home elsewhere, in eachother.
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ryan “i’m the exact same cunt i’ve always been, mate” whelan doesn’t say baby or babe. i doubt he even has it in his vocabulary. like where would he get the reference for calling a partner That. chances are he says cunt with the cheekiest fondest smile ever and it actually works. hi hello is this mic on
so many negative reviews for leviticus saying it was bad because it didn't explore the entity deeper really grate on me bc it's such a fundamental misunderstanding of the story adrian was trying to tell. we dont get the origins of the entity because it doesn't matter, it's clear from the beginning what function it serves the narrative—a physical manifestion of homophobia. leviticus is not a supernatural monster film, it's a coming of age; a teenage boy reckoning with his queer identity and the reality that because of who he is, he will always be at risk from homophobia
although i can understand some of the dissatisfaction given how leviticus was heavily marketed as a horror film (and typical horror conventions dictate the supernatural being is a focal point), negative reviews lose me when they demonstrate a complete disinterest in engaging what the film actually is, rather than what they wanted it to be. leviticus won't satisfy you if you're marking it against a rubric it wasn't designed for. the deliverence healer and the entity aren't fleshed out further because they are not the focus, and adrian is not a bad writer for choosing not to spend his incredibly tight run time on something that wasn't important to the story he was actually trying to tell: queer kids harmed by the dangers of religiously charged homophobia.
i can't help but feel like these comments that leviticus was "underdeveloped" and "poorly written" come from the fact adrian refused to hold the audience's hand. he left things out because he wanted the viewers to fill in the gaps with their own experiences, making the film more personal and grounded. if you weren't shown something, it's because adrian gave you enough to figure out the rest yourself or because it wasn't relevant. every time i rewatch leviticus im blown away by how restrained it is. its not common (especially nowadays) we get a writer/director so willing to hand a film over to its audience and let them independently join the dots. adrian did not poorly execute leviticus' message, he just makes you work for it.
art is obviously subjective and everyone is free to post their review, but if you go on abt how leviticus is bad because it didn't dig deeper into the deliverence healer/entity and wasn't clear abt its message, don't be surprised when people tell you you didn't understand the film.
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