From Jeff Nelson

Recording history remains a critical part of preserving what connects each of us to our past, whether it be familial or societal. The LGBTQ+ community has a rich history that reaches back to the beginning of humanity, but many of our stories have been lost. Jules Rosskam’s experimental Desire Lines emphasizes the importance of history and how it impacts both our present and future.

Ahmad (Aden Hakimi) is an Iranian American trans man who travels to an LGBTQ+ archive to dive into the records of his community. The line between past and present begin to blur as he navigates through the pieces of preservered history, imagining what it must have been like to live through these times. Meanwhile, Ahmad develops a unique bond with Kieran (Theo Germaine), an employee at the archive.

Desire Lines anchors itself in the present with Ahmad, while presenting a dreamlike reality that blends into the past. There’s little to learn about this perspective character beyond his curiosity in discovery, growing perpetually more drawn in by stories that feel like valuable lost artifacts, as well as Kieran’s charm and conversation. Ahmad’s cultural intersectionality provides depth, but his journey should feel much more monumental than it does.

The unfolding drama is spliced with a documentary component that allows transmasculine folks to take ownership of their own narratives, desires, and fears in their own interpersonal interviews and conversations. The perspectives and stories are enlightening and impactful, but some of the exercises bleed into “BuzzFeed game” territory that don’t necessarily spark the nuanced conversations they should. These interview vignettes operate at their best when participants have the ability to openly share their own pursuit of a sense of belonging within both themselves and the community at large.

Author and activist Lou Sullivan rightfully holds a special place in the heart of Desire Lines. His monumental impact radiates through every fiber of the film, demonstrating the importance of the stories where members of the community brazenly fought to be their unapologetic selves. Desire Lines moves between personal explorations of gender and sexuality expressed through interviews and letters, and more broad historical strokes, which range from beautifully-woven pathos to clashing methods that belong to two different feature films.

Hakimi delivers an effortlessly controlled performance as Ahmad, instilling his character’s insecurities, curiosities, and desires into every glance and interaction. It’s a shame that the material isn’t able to further capitalize on his earnest screen presence, particularly when it comes to his interactions with co-star, Germaine, who comes off a little stiff here. 

Desire Lines is an indispensable testament to the importance of preserving LGBTQ+ history and its influence on self-discovery and ownership of our own bodies and desires, but it feels like two halves that belong to very different films. It’s an empowering documentary drama with a memorable performance from Hakimi, but the screenplay and direction aren’t able to entirely capture the emotional underpinnings of its own themes and revelations, particularly as they apply to the anchoring story. It’s urgent storytelling that falls a bit short on execution.

Rating: 2.5/5

Desire Lines played at Sundance 2024 on January 22nd, 2024.

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