Confirmation

Chernyat

23 sep. 2025 · via TMDb

7.0

In the midst of interviewing the man behind the pioneering queer classic: Adam(1975), it was made to my attention that former actor and director (Paul Bugden) ventured further into directing then what the internet presumed otherwise. As I finally laid my hands on a personal copy of Adam, Paul gifts me a VHS rip of his followup short film, simply titled: Confirmation. To my shock, this film is actually a prequel to Adam. Part of an intended trilogy that was never completed. Confirmation centers on our titular protagonist of the series as a young boy going through his Confirmation Ceremony whilst wondering into imaginative scenarios picturing him as an ideal "Solider of Christ". The thematic juxtaposition of Catholicism is quite the intentional deviation from Bugden's overtly gay explorations found in his previous film. But it is an amusing fact that lingers. Especially knowing that this young boy of faith you're watching canonically turns out to be gay once reaching adulthood. It's plot is more abstract in its storytelling when compared to its predecessor. Many interspersed sequences can feel a little drawn out and repetitive. But atmosphere and memorable visuals do redeem the overall viewing experience. David Perry's cinematography is quite the step up from Adam even though Adam itself was visually striking it its own right. There are shots in this film that could come straight out of Twin Peaks. Especially the dinner scenes that displays a sparsely furnished hall. Complete with a gothic interior and accompanied by an oddly placed checkered floor. It's a notable sight that's in this uncanny zone between reality and the surreal. Amongst the striking visuals and experimental narrative, is a very thoughtful inclusion of indigenous actors. Aboriginal representation in media at this time was far few in-between. Whilst Confirmation may place such a cast in the roles of primitive tribal natives, it does give enough screen time to elevate their presence beyond problematic stereotypes. It should also be addressed that these depictions have a satirical undertone to it all. Aiming to showcase the subtle absurdity behind these crusade visions that Catholicism aims to impose on its followers. Not a philosophy that is intended to be endorsed by the film. Overall, it is definitely a good follow-up to Bugden's incredible directorial debut. But just shy off matching it. It quite the shame to see that this is actually the last of Bugden's directorial efforts. What could have been with the right support, funding and times on his side. Nonetheless, I think it's still a blessing to even get these two great films at all. In a time where oppression prevailed, it's still inspiring to know that one gay man dared to show his queer life on the big screen.