Of course, a story is nothing without conflict, and Dupuis injects some through Simon’s relationships with boyfriend Olivier and his biological mother Claire (Anne-Marie Cadieux), a famous opera singer who left Simon and his sister behind 15 years prior to travel the world as an artist. As a fellow artist, Simon defends his mother — he understands what a performer has to do to follow their dreams. Maud, who sees things very differently, wants nothing to do with her. But Claire is back in town after years away, which means Simon finally has the chance to see her again.
Then there’s Olivier. What started as a dreamy romance, shot tenderly by Dupuis’s warm, inviting lense, soon becomes toxic. Olivier starts to manipulate Simon, chipping away at his sense of self-worth and pulling him further from his support systems. Olivier is undoubtedly awful, but Dupuis’s script refuses to treat Olivier as an out-and-out villain, instead understanding how the challenges of being queer can manifest in damaging ways. While it’s never explained why Olivier left France, his need for a new life suggests he’s had some intense struggles of his own.
“Solo” does such a fantastic job aligning us with Simon. I found myself deeply invested in his journey — because Dupuis does great work letting us fall in love with him. By showing Simon at the highest highs, in complete command of the stage, laughing the days away with his loving family, and dancing the night away with his friends, it feels especially tragic to see Simon slowly descend from the joy he once held so close.
While the plot of “Solo” is pretty predictable — his relationship with his mother and boyfriend both feel too familiar — it’s still enthralling to watch. Dupuis brilliantly highlights the importance of drag in Simon’s life. We see a variety of different drag numbers, which show us Simon’s innermost journey. When he first performs with Dragona, it’s electric. Their chemistry is off the charts, and the crowd reacts appropriately, bursting into feverish applause when the pair make out on stage. (How wonderful, in a year of such turmoil, that a scene of two drag queens kissing is met with nothing but exuberance). But as their relationship begins to break down, their performances become stiff and laden with tension — far more uncomfortable than sexual. Despite Simon appearing confident, these relationships remind Simon that he’s got a long way to go to become the best version of himself.