Lloyd Eyre-Morgan is a British filmmaker and actor who first came onto my radar almost 15 years ago, as he was producing independent, queer films and TV series. He produced a short film called S.A.M. (2020), which got picked up by Peccadillo Pictures. Peccadillo is a distributor that focuses on LGBTQ content in the United Kingdom. That short film also featured David Tag, a soap opera star. Eyre-Morgan then in 2022 started working as a director on the British soap opera, EastEnders (1985). In 2025, he went on to work on another long-running drama series, that of Waterloo Road (2006). For several of his projects, Eyre-Morgan has collaborated with Neil Ely, and the two are sometimes credited as Eyre and Ely, which is the case here.
Eyre-Morgan stars as Benji, a working-class Londoner who is narrating this story. The film utilizes his voice-over to great effect. The story tells the tale of Benji's life over the course of the past two years, focusing specifically on Benji's dating experiences. He mostly rattles off a myriad or range of men that he's pulled. He's an openly gay man who goes to gay bars and uses gay dating apps, but he doesn't seem to have much luck in terms of finding a connection that feels right for him. There are several reasons, including self-esteem issues, as well as obsessive tendencies, particularly when it comes to one person.
Tag (Hollyoaks) co-stars as Jake, a successful businessman whom Benji meets at an airport bar. He's taking a trip to Amsterdam. Despite not identifying as gay, Jake starts a sexual relationship with Benji. Jake is described as "fit." On a scale of 1-to-10, Jake is a 10. He's tall, dark, and handsome. He's incredibly sexy, as Benji compares him to a hero from a fairy tale like Snow White. He's very muscular and very masculine. Jake is so attractive that Benji doesn't mind that Jake treats him badly sometimes. Jake can be very sweet and supportive, as well as body positive, but it's obvious that Benji wants to be a in proper relationship with Jake but Jake keeps Benji at a distance and gets angry anytime Benji tries to move them into a relationship or express any feelings beyond their sexual arrangement.
It's revealed in flashback that sex workers played a crucial part in Jake's sexual awakening. It's not ever said outright, but Jake seems to regard Benji as a sex worker or an escort. Jake doesn't pay Benji directly, but instead of hanging out in London, the only time that Jake agrees to spend time with Benji is in Amsterdam. Benji doesn't have the money for regular or even monthly plane trips to Amsterdam, but Jake can afford it and he pays for both of them. The film follows Benji and Jake's Amsterdam trips, almost monthly for nearly 2 years. It's comparable to Brokeback Mountain (2005) but more like "Brokeback Amsterdam." It's also akin to The Last Straight Man (2014), which was itself a remake of Same Time, Next Year (1978). Only this film has more frequent pairings than simply once a year.
At first, I was reminded of Harry Lighton's Pillion (2026) in that it's about a same-sex relationship where one member of the couple is more subservient and that person arguably is the less attractive one and how that less attractive one can become obsessed over a man who is emotionally unavailable. In Pillion, as here, the sexier guy is opposed to being boyfriends or is unwilling to fall in what might seem as traditional love. Pillion is about a BDSM relationship where an older guy is dominant and the younger guy is submissive like a puppy or a slave. That's not exactly the dynamic between Benji and Jake, but it's close enough where Jake is the dominant and Benji is the submissive. We even see Benji visit a French man who is clearly a male dominatrix. Lighton's film is meant to shine a light on the BDSM community. Eyre and Ely are simply shining light on what could be described as internalized homophobia.
In that, this film reminded me of Mambo Italiano (2003), which was over 20 years ago. The kind of homophobia on display here made sense back then. I know that over the past decade the Conservative Party in the UK has been mostly in power, so maybe this story isn't totally out of place or still holds some relevance. There is a conversation to be had about certain people in the LGBTQ community or even in the mainstream who don't want to abide by traditional, monogamous relationships. This isn't that. This is simply about a man, Jake, who is closeted.
As such, I was also reminded of Carmen Emmi's Plainclothes (2025), mostly in terms of the filmmaking. Emmi's film is set in the 90's, so its depictions of homophobia are totally relevant. Yet, Emmi also incorporated 90's iconography like VHS imagery. Eyre and Ely also incorporate VHS imagery. They also use P.O.V.-style camerawork to put you in the head of Benji and Jake. The voice-over and text on screen help in that regard too. Eyre and Ely also do a visual trick of isolating their characters in a void or blank background with flashing or strobe lights. It makes for a quirky or at times poignant, character study.
Not Rated but for 18 and Up for language, full-frontal nudity and intense sexuality.
Running Time: 1 hr. and 22 mins.
Limited theatrical release at the IFC Center NYC.
Played at Rehoboth Beach Pride Film Fest on May 16.
Available VOD.
