Set against the backdrop of Las Vegas, the film follows a young man named Major Tom Ryan (that's his legal name; it's explained in the film) as he navigates a complex time of self-discovery. The movie is deliberate and very compelling, and told through a series of extended conversations, full of genuine philosophical insights, that Tom has with various people he meets - ironically - through his association with the malevolently charismatic owner of a Vegas adult entertainment enterprise named Jordan.
Tom is a kid from Long Island on the run from his very real, but decidedly first-world problems, and through these conversations, he learns a lot about how the real world looks, gains perspective, and moves a little closer to being a fully realized adult. And, yes, in the meantime, he gets caught up in a lot of fun hijinks, faces some (often literally) naked truths, and has some interesting, and frankly entertaining, sexual encounters (all of which, believe it or not, are 100% story and character relevant).
There's a pretty intense series of tragic events in the last part of the film, and that's good because it feels necessary to bring the stories full circle, get Tom (and a couple of other characters) across the finish line, and I think that works well to balance out the tone of the film, making even its most indulgent and hedonistic elements justified building blocks in the film's narrative. The best part, though, is that all of these events are rooted in the psychological issues and concerns of the characters, not their alternative orientations or work in adult entertainment. The film is very modern and non-judgmental in this way, which I really appreciated. The folks who'd be messed up in any profession or situation are messed up here, and the folks who are decent and good are the same.
Notably, the film balances emotional depth with physical appeal. The diverse male characters are portrayed in ways that will absolutely cater to scopophilic pleasures (the female and gay male gaze), with instances of nudity and physicality that are not only justified within the narrative but necessary to telling the story, with its moral insights and ethical messages. This approach integrates a physical representation within the larger narrative, ensuring that characters are seen as complete individuals, even when they aren't wearing very much.
I want to mention, too, that the emphasis on emotional depth challenges traditional narratives and portrayals of men in films, offering a more nuanced and introspective view. The film succeeds in providing empathy and understanding for its characters.
I'm giving the film a 9, not a 10, because there are a few elements that could have made this film revelatory and near-perfect, but I agree with an online critic who noted the few weaknesses in this film probably result (either directly and directly) from the film's limited budget and the fact that it was shot during the COVID quarantiine. The film's American-auteur style, reminiscent early Linklater, Burns, or Anderson may not align with all viewer preferences, but it's a film worth seeing and I highly recommend it! And if long conversational scenes aren't your thing, the youthful hijinks, plentiful flesh (the eye-popping frontal nude scene from the star is probably best known, but it's just the start) and diverse hook-ups just might be. This balance means "Station to Station" has a little something for everyone, from those who like to analyze movies to those who just want to ogle them.
In conclusion, "Station to Station" is a significant step forward in the evolution of the female and gay male gaze in cinema. Its thoughtful integration of physical appeal with emotional depth and narrative complexity offers a more inclusive and empathetic cinematic experience. Whether one appreciates its literary qualities or focuses on the visually-driven scenes, the film stands as a meaningful contribution to diverse perspectives in film.
