Review
Boulevard (Drama) (2014)
Director: Dito Montiel
Writer: Douglas Soesbe
Stars: Robin Williams, Roberto Aguire, Kathy Baker, Bob Odenkirk
A married man finds himself meeting a gay prostitute on a detour from work; their interaction feeds a once-suppressed appeal to the same sex and a gradual collapse of domestic life.
Premiering at the Tribeca Film Festival, ‘’Boulevard’’ was one of the final films following Robin Williams’ untimely death. Writer Douglas Soesbe described the film as relatable to his own journey, as someone coming out later in life and the guilt that came with it. The film was produced by Camellia Entertainment and Evil Media Empire, while distributed by Starz Digital.
Living quite a traditional life, Nolan Mack (Robin Williams) finds himself stuck in a monotonous yet convenient marriage. With a stable job, a close friendship, and a father whose health is rapidly declining he supresses a long-held attraction to men. A private conflict that would introduce strife and does when he strays from his routine, forcing a confrontation with desires kept buried for decades.
Considerate and calm, with subject matter later introduced to challenge emotional depth, a domestic scene sets a subdued tone for the audience. Montiel and Soesbe capably reflect on an experience tied to a generation of closeted men—one shaped by identity, shame, guilt, and belated recognition.
That repressive sensibility carries through not only in the film’s restrained cinematography but especially in Williams’ Nolan. His behaviour isn’t just shy or off-kilter, it’s sheltered; the result of living a falsehood. From a solitary experience, without an overt epiphany, a private restraint is quietly challenged, becoming a catalyst for exploration beyond a cage-of-own-design. Strolling past temptation, an interaction finds him, its outcome, turning vulnerability to dependency — a coping mechanism towards a dissatisfactory fastened life that slowly begins to unravel.
An understated early moment, as he assists a same-sex couple at his bank job, functions as a quiet thematic footnote—underlining discomfort and a profound realisation which the film keeps internal at this point. These subtleties are what ‘’Boulevard’’ thrives on, with furtive movement tied to the character rather than clinging to overt statement. As considerate as it is contained, emotions aren’t broad or elaborate either, as Williams’ Nolan becomes honest—with himself first. Doubts surface among relatives and friends as his behaviour deteriorates, the once-reliable husband receding and corroding his former stability.
There’s a double-consequence — loss and triumph; a confounded upset to his wife, yet a rediscovery of what love means to him. Montiel and Soesbe’s film paints a songbird, long imprisoned — its release neither exultant nor loud, only the silent dignity of finally singing with his own voice.
Verdict
A Boulevard of Broken Dreams.
6,5
