“Almost Us” examines the pressures modern life puts on men to stay in the closet

04/16/2026

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This cinematic shot captures a tense moment between two people at a dinner table in a dimly lit, modern room. On the left, a woman with long dark hair, wearing a black sleeveless dress, sits with her arms crossed, looking toward the man with a skeptical and deeply concerned expression. To her right, a man with a short beard and a high-top fade hairstyle leans forward with his hands clasped on the table, looking off-camera as if mid-explanation. Two wine glasses, one partially filled with red wine, sit on the reflective dark table between them. The cool, low-light atmosphere and the visible strain in their facial expressions suggest a difficult or heavy conversation taking place in a private setting. — "Almost Us" (Photos by 643 Productions)

This cinematic indoor shot captures two women seated at a dark, reflective dining table, engaged in a serious conversation. On the right, a woman with auburn-colored micro-braids and a multi-strand pearl necklace wears a deep blue blouse. She has a concerned, questioning expression and rests one hand on the table while reaching out with the other. On the left, another woman in a tan sweater looks toward her with a somber, attentive gaze, her hand resting near the other woman's on the table in a supportive gesture. Several wine glasses containing red wine are scattered across the table, and the background shows a kitchen area with a tall pillar covered in magnets and photos. The warm, dim lighting emphasizes the emotional weight and intimacy of the scene. — “Almost Us” (Photos by 643 Productions)

The pressures society places on men to be cutthroat in their careers and stay on top are being discussed more than ever. At a time when patriarchy and power dynamics are increasingly examined through film, the exploration of toxic masculinity becomes especially compelling. Not only does this mindset foster greed and diminish empathy, but it can also push men to maintain an exaggerated macho image outside of work —even if that means denying the life they truly want to live.

In the new film Almost Us, directed by Anthony Bawn, we are drawn into the secret relationship between a closeted real estate developer and an out and proud community organizer. Through this timely story, we gain insight into both of their worlds, ultimately revealing how traditional masculinity and living a life driven by ego can create a ripple effect of pain across communities.

Darren (Adri Kennedy) is pressured by his Auntie Gloria (Lydia Corbin) at their family’s real estate development company to ensure the demolition of a center serving underprivileged populations moves forward. He never expects to meet Jason (Anthony Bawn), a worker there, and develop romantic feelings for him. Through this encounter, Darren begins to change his perspective, realizing how artificial his life of power has become in relation to his true self.

The film is poignant in its portrayal of how kindness ultimately is a more important force than selfishness driven by profit. Jason’s community center, which supports the poor and survivors of domestic violence, serves as a powerful reminder of how transformative compassion can be. Seeing how much light Jason brings there through meeting with the clients felt like a reminder of the natural way humans are meant to be there for one another.

In contrast, Darren is pitted against his brother and pushed to prioritize wealth and family legacy, offering a thought-provoking look at how ambition without empathy can darken people’s lives.

This intimate, moody photograph captures two men in a close embrace within a dimly lit, dark-tiled shower. The scene is bathed in a deep, cool blue light, with glistening water droplets visible on their skin. In the center, a man with his back to the viewer tilts his head back with eyes closed, his face turned toward the light in an expression of vulnerability or release. He is being held from behind by a broader man who has his arms wrapped firmly around him and his face pressed tenderly against the side of the other man's neck. The low-key lighting and tight framing focus entirely on the physical and emotional connection between the two figures, creating a powerful sense of intimacy and quietude. — “Almost Us” (Photos by 643 Productions)

The film portrays its central romance with a sense of tenderness and care. Jason’s softer way of living gradually impacts Darren in a profound, life-changing way, highlighting the beauty and power of gay male love. Few queer romances explore a dynamic in which love actively dismantles a man shaped by a corrupt, profit-driven world, making this relationship feel especially fresh and honest.

By the film’s end, their relationship takes on a deeper significance, hinting at the possibility of change — not just for themselves, but for those around them to also lead a gentler life.

While the acting throughout the film does come off as somewhat amateur, the story remains impactful — especially for an independent production. Almost Us is a queer romance that sparks thought-provoking conversations about how to build healthier, more compassionate communities. It explores how family pressures can persist into adulthood, making it difficult for queer individuals to fully embrace their identities.

The expectations tied to a family business add another layer, as Darren feels forced into the closet, serving as a reminder of why it is so important to show kindness to those closest to us, especially blood relatives.

In a world driven by the pursuit of success, Almost Us ultimately reminds us that gentle love and compassion matter far more than maintaining a false image.

3.5/5 stars