Cannes Review: Enzo is a Delicately Told Queer Coming-of-Age Story

      The queer coming-of-age journey is marked by significant vulnerability: a young individual confronts the realization that they are becoming distinct from their past selves and those around them. Robin Campillo’s "Enzo," which opened the Directors’ Fortnight segment at Cannes, captures the sensitivity of this theme and deftly portrays its main character. However, it may be perceived as slightly too gentle and somewhat unfocused at first, until a poignant third act unveils the complexities and challenges of a boy searching for his place in the world.

      Enzo is 16 years old. We encounter him at a construction site in the countryside, where he mixes concrete and lays bricks under the relentless sun. The work proves difficult, and he appears neither skilled nor inclined to improve. When his boss takes him home to express dissatisfaction with his performance to his parents, we discover Enzo actually comes from a wealthy background. A glance at the gated mansion he shares with his white-collar family reveals to both the boss and the audience that Enzo has the option to avoid the challenges of manual labor if he chooses; we later learn that his father is persistently urging him to complete his education or pursue something that would make him happy. Yet, Enzo continues to work.

      Among his male colleagues who engage in banter and share stories about girls is Vlad, a Ukrainian immigrant who mentors Enzo and shares the traumas of war from his homeland. Throughout the first hour of "Enzo," we see him spending time with Vlad, researching the Ukrainian conflict, rebelling against his father's expectations, working to “do something with his hands,” and kissing a girl. Although there are reasons behind the actions of this paradoxical character who seems to navigate life based on impulses, everything shifts when Enzo, following another clash with his father, spends a night at Vlad's apartment.

      Enzo was initially developed by Palme d'Or winner Laurent Cantet (The Class) and later completed by Campillo after Cantet's passing; both filmmakers have made their contributions to the project. Known for his acute insight into young people still exploring their identities, Cantet created a captivating protagonist filled with internal conflict and unexpressed yearnings. In a landscape where characters of this age are often seen merely as someone’s child, it's refreshing to witness one portrayed with such thoughtfulness. There is palpable tenderness in the depiction of this teenager who, despite his comfort and privilege, feels trapped in numerous ways.

      Campillo’s primary strength as a director lies in his humanist tendency to observe. His work reveals a fascination with people and their behaviors, as exemplified by how he films actors reenacting the Act Up protests in his Grand Prix-winning "120 BPM," or the opening of "Eastern Boys," which quietly focuses on a group of scammers operating in a Paris train station. Even if his films do not resonate thematically, this genuine, non-judgmental curiosity is evident in every frame, making it a pleasure to watch his subjects and spend time with them. Although the first hour of "Enzo" may lack a clear narrative or emotional anchor, it remains engaging to observe and reflect on this complex character.

      The story gains momentum significantly after the pivotal night at Vlad’s, as Enzo confronts truths about himself and the emotional aftermath of his first heartbreak. With sensitivity and realism, Campillo concludes the narrative not with exaggerated sorrow or unrealistic happiness, but rather with a sense of relief—the understanding that this boy will ultimately be alright.

      "Enzo," akin to "Call Me by Your Name," centers on the sexual awakening of a young man. Both films are set in sun-drenched locales and culminate around a memorable phone call. However, in contrast to Guadagnino’s emotionally intense film, Campillo presents a lighter narrative. It is commendable that, for a change, the gay character in a romance does not meet a tragic or traumatic end. Additionally, it is refreshing to see a film that explores queerness not solely in terms of sexuality but also in a broader context of alienation and the feeling of being out of place in one’s own life. This theme still holds vast potential for storytelling.

      "Enzo" premiered at the 2025 Cannes Film Festival.