Holly Lawrenson Evans | Swimming with You / 2022

second chance

by Douglas Messerli

 

Paul Davidson, Holly Lasrenson Evans, and Taylor Watson (screenplay), Holly Lawrenson Evans (director) Swimming with You / 2022 [11 minutes]

 

Two boys who have evidently spent the day together find themselves now in a parking lot, locked out of their car. Rhys (Dillon McFarlane) has evidently left his keys in the car, so he reports to the British version of AAA. Lucas (Declyn Tracey) apparently has to be at work at 2:00, and it’s now 1:50. What to do?

     While they wait for the recovery car to arrive, they begin small talk, Rhys suggesting that he did have a good time. Lucas suggests that the could get a bus and walk, maybe. But Rhys then argues he would feel even more stranded.

      Obviously, they are at a standstill; they’re emotions are still pent up inside, and, particularly Lucas, clearly pissed, doesn’t quite know how to respond.

      Rhys dares to ask what Lucas actually does at work, and even then Luca challenges him, cynical about his attempts to really “chat.” Yet finally, he admits that he mostly just “plays music over the speakers, stocks the shelves and that sort of thing.”

       As for what music he likes, Lucas admits “mostly indie” stuff.

       Lucas asks if Rhys knows “The Blue Moons,” Rhys wondering does he dress like someone who would know “The Blue Moons?” Nonetheless, Lucas argues he should check them out; he might like them.

       Lucas finally asks Rhys what he “gets up to” on his days.

       “Just studying. Hanging out with my friends. Usual student stuff, you know.”

       Suddenly, we perceive the two have met up with other intentions, given that in his next sentence Rhys replies: “Nobody really knows about this side of me.”

       We now know the two have met up in this wilderness spot from a hookup on Grindr or some such internet connection. The snafu has been on top of their own fears and sexual frustrations.

        Rhys continues: “I’m just trying to figure out what I want, who I want.

        But Lucas pretends to have no knowledge of what his friend is talking about, Rhys quickly responding that he’d appreciate it if he just kept it to himself.

       Lucas responds rather positive, suggesting he might send him a playlist to see if he like it.

      And now even humor enters into their conversation when Lucas points out that Rhys has re-buttoned his shirt improperly. The boys have evidently had some sort of sex or at least a serious make-out session before this disastrous end.

       Suddenly the recovery vehicle arrives, driven by a quite likeable and forceful woman, Lorna (Carla McNeil), who immediately inquire whether they’ve been locked out of their car. Marching forward, bag in hand, she peers into the car, laughing evidently perceiving even by the position of the car seats that the boys have been up to something.

       “So what brings you guys out to these lovely parts?”

       She quickly opens the door, but forces them first to sign some paperwork.

      And suddenly as Rhys moves to his upper pocket of his coat, the keys fall out. He has had them with him the whole time.

       “Fuck you, man” is Lucas’ response, as Rhys attempts to apologize.

       Lorna needs his signature, “Before this kicks off between you two lover boys.”

       This wise woman approaches Lucas, “His first time, I assume.”

       “Isn’t it obvious?”      

       This “savior” offers some good advice: “He’s made an effort. More than most boys, right? All I’m saying is, don’t be too quick to throw him away.”

     Lucas, conflicted, nonetheless pauses to think before knocking on the car window where Rhys now sits. “How about that lift?”

     It’s difficult to find a good relationship at any age, but certainly problematic for two young unsure boys such as these is a perhaps provincial territory. Learning to forgive and love is necessary for any young gay boy on the verge of finally coming out.

     This is a wise little work, if somewhat unbelievable. It still stings the way all early love stories do, and thrives in its openness of heart.

      I might mention, yet again, so many of these fine gay films over the last several decades have been helmed by women directors, in this case Scottish-born director Holly Lawrenson Evans. It should be a lesson to Hollywood and other major cinema productions. Why it took three writers to put together a script, I cannot explain.

 

Los Angeles, July 8, 2026

Reprinted from My Queer Cinema blog (July 2026).