A cop’s double life comes into split focus in the sensitive indie ‘Plainclothes’

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The 1997 comedy “In & Out” famously tried to bring the story of a gay man coming out in a small American town into the mainstream. Now, the new independent film “Plainclothes,” set in Syracuse, New York, in the same year, offers a more realistic and complicated look at what that experience was actually like for someone grappling with their identity.

Carmen Emmi’s debut film is a gripping and nuanced story. It centers on Lucas (Tom Blyth), a young police officer who is part of a controversial operation. He goes undercover in a mall, using his looks to attract gay men to the restroom. His job isn’t just to observe, but to wait for them to unknowingly commit a minor infraction, allowing him to then have them arrested for indecent exposure.

During one of his surveillance operations, Lucas feels something change when he makes eye contact with a man named Andrew. Andrew’s intense gaze suggests a connection that goes beyond a simple encounter. Instead of subjecting Andrew to the usual humiliating procedure, Lucas discreetly gets his phone number while avoiding his supervisor’s attention. Several weeks later, they meet at the balcony of an old movie theater-a location subtly referencing the film “The Conversation” for those who recognize the details. After sharing a few tender moments in private, Lucas begins to dream of a life where he doesn’t have to hide his feelings, though Andrew warns him that their connection might not last.

From the start of “Plainclothes,” shifts in the film’s visual style and Lucas’ appearance signal that we’re seeing a long-held memory. This memory is brought on by the stressful preparations for New Year’s Eve at his family home, and by a letter Lucas doesn’t want his recently widowed mother (played brilliantly by Maria Dizzia) or his difficult uncle (Gabe Fazio) to discover.

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The story jumps between the present and the past, building suspense around both Andrew’s relationship and a mysterious letter that seems to hold important truths. This structure makes the episode feel like an emotional thriller where the main character is chasing and being chased by their own feelings, endlessly wondering what will happen if their secrets are revealed and what it would even mean to be caught.

Emmi’s script brilliantly portrays how a life built on secrets can fall apart. Lucas finds genuine acceptance and understanding with his partner, Andrew, and even a supportive ex-girlfriend. However, when he’s around his family, he feels pressured to hide his true self. This anxiety intensifies when his workplace, driven by a tough, hyper-masculine environment and a desire for more arrests, introduces a hidden camera, making Lucas fear exposure and jeopardizing his sense of identity.

While “Plainclothes” doesn’t break much new ground psychologically, its understated style successfully evokes the feeling of a classic 90s independent gay film. The casting is strong, particularly with Blyth who subtly conveys complex emotions, and Tovey, who delivers a poignant performance as a man hiding his true self. The director’s repeated use of a grainy visual effect to represent the main character’s stress feels a bit overdone – it’s effective in small doses, but ultimately distracting. However, this is a minor flaw in a film that’s otherwise remarkably perceptive about how difficult it is to see things clearly when living a double life.

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2025-09-29 00:31