TIFF Review: Julian Presents a Queer Love Story of Sorrow and Preservation

      It’s a transient, ephemeral moment. At a concert, Fleur (Nina Meurisse) meets Julian (Laurence Roothooft) with a glance just as she settles into her seat, and suddenly, a spark ignites. Their fascination and mutual attraction rapidly evolve into courtship, followed by an abrupt engagement toast during dinner with friends. As they celebrate the announcement, Fleur breaks into the festivities with a proclamation: she and her future wife intend to marry not just in France, but in all 22 countries that recognize same-sex unions. Their chance meeting, they decide, can also serve as a statement. Although their love may be spontaneous, it doesn’t have to be subdued.

      The distinctive and significant choice to embark on what Fleur refers to as “Project 22” provides the initial narrative momentum for Julian. However, director Cato Kusters’ politically resonant and heartfelt portrayal of love transitions into one of loss and memory preservation. Shortly after the journey begins, the couple’s year-and-a-half travelogue takes an unexpected turn when Julian is diagnosed with terminal cancer. Instead of presenting this news in a straightforward, dramatic manner, Kusters daringly opts for a non-linear narrative, fluctuating between the couple’s early happiness and Fleur’s life as a widow through camcorder footage, laptop screens, and FaceTimes.

      This narrative technique (at least at first) introduces an element of uncertainty regarding Julian’s fate, transforming the story into a fleeting guessing game that ultimately serves to highlight their time together, evade the predictable patterns of a cancer narrative, and convey the anxiety surrounding Fleur’s later choice to share their abbreviated love story with the public. Each segment of this puzzle feels meticulously crafted. The snippets of memories gain specific significance through archived phone videos but resonate even more deeply and meaningfully when observed in real time from a different perspective. Kusters challenges initial perceptions and then provides context, underscoring their significance with a shift in viewpoint.

      As the film shifts between different time frames and tones, it brings both women’s personalities and backgrounds into sharper focus. Julian, possessing a more masculine appearance and demeanor, tends to be less assertive in social situations and more yielding to the project overall—possibly a self-aware acknowledgment of her own illness, or a direct outcome of having limited family support as a gay woman. Fleur, in contrast, adopts a more proactive stance in their activism, emboldened by her parents’ acceptance. Although the journalist struggles to secure funding from her newspaper, she dedicates her time to organizing and coordinating the itinerary and vendors for each country’s ceremony and celebration. As Julian’s health deteriorates, the couple’s aspirations and perspectives begin to diverge.

      Based on Fleur Pierets’ renowned memoir, *Julian* consistently reminds viewers of the motivations behind Project 22, while Kusters captures the complexities of leading an openly queer life. These aren’t simply acts of overt discrimination; rather, they manifest as minor slights—passersby staring at them on the bus, or vendors unwilling to make exceptions due to ongoing protests surrounding pride events. As Julian's condition declines, Fleur must transition from a communications liaison to managing crises, grappling in real time with the significance of their message and the need to be present for the woman encouraging her to seek love again.

      The chemistry between Roothooft and Meurisse, who has emerged as a rising French star through collaborations with Céline Sciamma and Boris Lojkin, grounds this tension and provides the emotional core for the film's third act. To ensure Julian’s death carries meaning, Fleur opts to give a presentation in New York, aiming to showcase the archived footage she collected and fulfill their activist mission. Although 28 countries have legalized gay marriage, it remains a contentious legal issue in the United States. Kusters’ debut reveals just how personal—and painful—these political choices can be, along with the love stories they seek to undermine.

      *Julian* had its premiere at the 2025 Toronto International Film Festival.