From Passages (2023) to Peter Hujar’s Day (2025), as his most recent pieces, writer-director Ira Sachs has become known for creating stories that centre around masculinity and queerness. His films do not inherently have to be about these subjects, but there is always a sense that they are part of the inner workings of his work. Whether it be the way in which he uses the medium of film to add texture, the setting of the story, or the intimacy in the camera, the work of Sachs, in someway or another, touches a certain part of your heart. In
New York in the 1980s, theatre artist Jimmy George (Rami Malek) finds himself living with AIDS. In a beautiful loft, Jimmy lives with his partner Dennis (Tom Sturridge), who helps him through each passing day. To make the most of what he believes is the time he has left, he sets out to take on what could be his last great role. Remaking a lively French piece of cinema, Jimmy and his closest queer friends and coworkers carefully craft the story for the stage. As each day passes, the disease slowly infects each of them in different ways.
The Man I Love: Ira Sachs and Rami Malek Bring Aching Beauty to This AIDS-Era Love Story
Back in New York, Sachs’ latest work The Man I Love, thoroughly focuses on queer culture. Hitting the LGBTQ+ community, particularly gay men, hard in the beginning, HIV and AIDS were treacherous. Seen as a plague by the general public when it began, ever since, especially with the help of filmmakers and activists, the sharing of these stories has shaped a new perspective on the disease. For Sachs, Jimmy need not be his disease. In fact, it was never directly stated in The Man I Love. It goes to show just how impactful one person can be on their community, and how surviving is not living.
Referred to before the audience gets to meet the illustrious Jimmy George. He is a clear figure in their lives, impacting each individual in their own way. Setting the story in New York, the creative hub for the community at the time, gives a deeper level of truth and understanding. Jimmy and Dennis live in the upper flat, constantly partying with the theatre group. Young British bachelor Vincent (Luther Ford) moves into the spare room below them, and instantly a connection begins to form. Beyond the scene setting are these intimate moments between characters. Through them, that deep bond and lust is felt. Within passion, love, and chemistry, the queer world is explored in The Man I Love in an impactful way. It goes to show how men then had to love each other, but could choose to remain safer than sorry if one suffered the disease.
Malek stars as the queer protagonist and, of course, brings a power to his portrayal that supersedes that he used in Bohemian Rhapsody (2019). A flamboyant, proud, and genial gay man living in New York with his friends. Jimmy George is known by all (or almost all) in the New York gay community. As Malek sways through the stage, both literally and figuratively, all attention goes to him. Performing stupendously through musical breaks and breaking down into tears and pain when the disease starts to take over. From his performances in Bohemian Rhapsody, we are aware of Malek’s talent as a singer. But as opposed to the rock and roll of Rhapsody, The Man I Love has him in a more tender and soft tone. Singing as the drag queen he is, high-paced, busy, moving, and light-hearted. In front of his parents, however, Malek must change personas entirely. Though the same person, the way in which Jimmy feels in this moment, or in any solitary and confining ones, is much stronger. Malek has to change his entire facial shape here, and how so, that is the question. But he does it so well, the sadness and sorrow comes through the screen.
We need not see them centred in frame. Having each character partially hidden from the audience is secretive and mysterious. I believe that Sachs’ ideas of how to frame his films all depends on the truth in each character. Jimmy must stay strong, knowing he wants to perform this piece as his last performance ever. As Jimmy and Dennis embrace, it is merely the embrace we see. Wondering why, though a question I need not ask. His decisions make you feel comforted in these dark times. In the most intimate moments between characters, even when they are in bed together, instead of the feeling of discomfort, I get to see the small moments between them as up close and slightly angled shots of their faces grace the screen. Instead of showing the roughness of sex, it is the magical and tender part we see. It makes it safer and softer to watch, giving us a peek into their love.
Sachs’ films follow a slow-burn style. Though typically shorter than average in length, the time does still pass. Jimmy’s life is filled with numerous friends, family, and acquaintances. Yet somehow, apart from the small few, their introductions and storylines are not developed enough. Yes, The Man I Love is about Jimmy and what could possibly be his last moments on earth, but you want more from the people you meet. Jimmy, Dennis, and their friends in the apartment all come and go. We see their affection for him and worry when the tides change. But family, Brenda (Rebecca Hall) and Gene (Ebon Moss-Bachrach), are seen ever so briefly. By the end, as they begin to grieve, and we are made to care for the suffering and sorrow, there would be room to do so, but not enough is shown.
At least the importance of the impact of AIDS remains within The Man I Love, but does not take over the film. Set as an important piece of his character and the backdrop for New York at the time, The Man I Love is so much more. Upon watching the film, I understood better just how much strength these men had, and still have, as they push through the virus and live their lives. Unlike other pieces of media, Jimmy George is his own person, as all gay men are. Giving it all and trying to be the best he can be. Sachs’ The Man I Love creates and shares a world where this is possible. Though I had hoped for a bit more, it cannot be denied that through powerful and emotional actors, the pain, love, and loss of this one man and his family shines through ever so brightly.
Screening in the In Competition section at the Cannes Film Festival, The Man I Love has reached its first audience. Tearing up the audience and myself, there is hopefully no way not to be moved by Malek’s performance. With a good grip on his story, all that I wished for was a bit more development. But that is not to say The Man I Love is not a beautifully crafted and well-acted piece of cinema. Ira Sachs has a hold on this world and hopefully continues to pave the way for further stories like these.
Grade: B-
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The Man I Love
In late 1980s New York, a theater artist living with AIDS takes on one possibly last great role.
