FRANÇAIS app de traduction à gauche
In a society that often equates value with physical attractiveness, fat bodies are frequently relegated to the margins. To be fat is not only to live with the weight of societal judgment but to exist in a world that often renders you invisible. Many people, like Harvey, the protagonist in Devin Shears’ tender debut Cherub (2024), move through life feeling unseen, overlooked, and ultimately alone. Harvey’s story speaks to a broader, deeply human experience — the longing to be acknowledged, to break free from monotony, and to feel loved and accepted for who we are.
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| TRAILER |
Benjamin Turnbull portrays Harvey, a gentle, rotund man whose days are marked by routine and loneliness. His existence seems small and uneventful: waking up, going to work in a lab, visiting his dying father in the hospital. Yet, behind his quiet demeanor lies an intense desire to break free from the invisible barriers that trap him. He yearns for connection, for someone to look beyond his physical appearance and see the person within. Harvey’s isolation is emphasized through Cherub’s (2024) distinct aesthetic choices, particularly its (almost) complete lack of dialogue and the use of a 4:3 aspect ratio, which keeps Harvey at the center of nearly every frame. This visual decision emphasizes Harvey’s solitude, placing him as a passive observer of the world around him — whether it’s the pretty girl he watches from a distance, the couples making out in the park, or the commuters on his bus. These choices create a sense of both intimacy and alienation, allowing the audience to feel Harvey’s inner loneliness even more acutely.
The film delicately explores the complex relationship between body image, self-esteem, and the desire for love. Harvey’s world begins to shift when he visits a porno store and stumbles upon a gay magazine named Cherub, filled with images of big men, confident and unapologetic in their bodies. This moment serves as a turning point for Harvey, as he finds a reflection of himself in these men who are celebrated for the very thing he has always been made to feel ashamed of. The scene is played with a mixture of excitement and embarrassment, capturing Harvey’s internal struggle between shame and the stirring possibility of self-empowerment.
Turnbull’s portrayal of Harvey is subtle yet profoundly moving, reflecting the quiet desperation of a man who wants so much more than his circumstances have offered. His eventual decision to send in a self-portrait to the magazine’s “Cherub of the Month” section becomes an act of vulnerability, a hopeful step toward breaking free from his invisibility.
At a mere 73 minutes, Cherub is a slight yet deeply affecting film. Despite its modest $10,000 budget, Shears crafts a visually rich and emotionally resonant work, with carefully composed frames and vibrant splashes of color that contrast the bleakness of Harvey’s daily life. The film’s limitations, far from detracting from its impact, elevate its artistry, as each choice feels deliberate and meaningful.
Ultimately, Cherub offers a gentle but profound meditation on loneliness, self-acceptance, and the transformative power of being seen. It is a film that gives voice to those who are often marginalized, reminding us all that invisibility is not inevitable — with love, confidence, and recognition, even the quietest among us can shine.
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