Masculinity and Homosociality in Western Cinema: Taking Close (2022) as a Case Study

Masculinity and homosociality in Western cinema undergo continuous evolution, transitioning from the construction of traditional ideals to contemporary, more diverse expressions, thereby presenting challenges and deconstructions. To contribute to the theorization of masculinity and homosociality in Western films, this study examines Lukas Dhont's Close to analyze how masculinity and homosociality are represented and negotiated to reproduce gender structures and heteronormative ideologies, and offer implications for future film presentations. Employing textual and formal analyses, along with relevant theories of masculinity and homosociality, this paper identifies different forms of masculinities embodied in hierarchical and horizontal homosociality. In doing so, this paper finds that homosociality provides space for some masculinities to assert and solidify their dominance while relegating others to subordinated or marginalized positions. The dynamic shifts in masculinity also correspondingly affect homosocial dynamics. Further exploration is warranted in presenting and constructing positive narratives surrounding non-hegemonic masculinity and horizontal homosociality, so that a diverse, anti-homophobic, and gender equality-supporting masculinity on screen may have the potential to achieve hegemony.