Your Eyes on Me is a 2020 British film written and directed by Sergei Alexander. The movie is a queer drama that explores the complex relationship between two drag artists in London.
Sergei Alexander’s Your Eyes on Me follows a fleeting, charged romantic run-in between two drag performers. The film leans into a kind of colourful everydayness, and because it’s short, it doesn’t waste time warming up – it goes straight for the feeling it wants to spark.
It’s strongest when Alexander keeps the camera tight on the central pair played by Paul Stone and Jean-Philippe Boriau, letting their connection knot itself into something messy but surprisingly controlled. The story’s swerves might feel a bit too convenient or outlandish for some, yet the way they’re staged and paced lands with real force, almost flawlessly.
Boriau is the clear standout: warm, expressive, and consistently convincing. Stone is more uneven – often beautifully inward and emotionally readable, but occasionally a touch blunt in delivery. Still, the chemistry holds and the film never loses credibility, so those softer moments don’t undercut what’s being said. The supporting cast – Niamh Sullivan, Silva Beshi, and James Knapp – bring bright energy and a grounded steadiness, with characters that feel open and candid rather than “just there.”
Visually, the hair and makeup hit exactly the right note, giving the performers a playful, vibrant sheen without turning them into caricatures. Cinematographer Andrea Angelini shoots with a calm stillness, keeping an intimate distance that feels deliberate – like the film is refusing to blink. Alex Wallace’s score adds lift and tenderness, mixing hope with a bittersweet edge, and it pairs beautifully with the crisp, performance-hungry framing.
One thread does feel underused: the film briefly opens a door to family introductions and the fear or difficulty that can come with them, then largely drops it. It’s the kind of topic that could have deepened the emotional stakes, especially because it’s such a real-life pressure point. Still, it’s meaningful that the film even acknowledges it.
Like most stories, the narrative rises and dips, and a few beats might strain belief – maybe because the film embraces the “illicit” feeling of the situation. But that risk is also part of what makes it stand out. The writing isn’t as sharp as the direction, yet it’s solid enough to carry the mood as it builds toward a melancholic finish that never sinks into hopelessness. Overall, Your Eyes on Me feels like a confident and promising debut from Sergei Alexander.
