Shot in luminous black and white, Dutch filmmaker Dennis Alink's Out revolves around two 19-year-old queer friends and aspiring filmmakers in the Netherlands, one tall and inhibited, the other compact and outspoken.
It begins with a dinner to which Ajani (actor and musician Jefferson Yaw Frempong-Manson) invites secret boyfriend Tom (Cobain's Bas Keizer). Once everyone is seated, he announces that he's gay, and waits for the fireworks to come, except they don't–his family offers him their support. Tom's family, on the other hand, is neither loving nor supportive, which helps to explain why he may be secure in his sexuality, but reacts to any criticism with anger and combativeness.
Ajani and Tom make short films in their spare time, and once both are accepted by the same film school, they can't wait to live openly as a couple in Amsterdam. In short order, they meet some worldlier gay men, and a social life begins to take shape, except Tom would prefer to drink less, to turn in earlier at night, and to have more time with Ajani to himself.
If he feels like the odd man out at home, he feels the same way at school, because the other students aren't as passionate about the arthouse cinema he adores, including Ajani's friends, who care more about partying and working out. Tom is also bisexual, while they're exclusively interested in men. Fernando (Fjodor Jozefzoon) even suggests that Tom must be going through a phase, but just as he almost seems to be fitting in, he receives devastating news about his academic situation.
The divide between the duo grows, not least because Ajani has become shallow and hedonistic while sowing his wild oats. Tom would prefer to hang out and make films, but it's becoming impossible. It doesn't help when Ajani abandons their school project, or Ajani's friends–and even his professors–criticize the way Tom presents himself and relates to other people. He isn't antisocial, inarticulate, or unattractive, but some observers find his snobbishness and single-mindedness off-putting.
Out isn't a tragedy, though, but rather a chamber piece about the effect on a friendship as young people grow and change. Once Tom and Ajani leave their cloistered, conservative hometown, their interests and priorities shift. It all plays out like a personal story, not just because of the realism, but because Tom doesn't let heartbreak stand in the way of his filmmaking.
In interviews, writer/director Dennis Alink, who has made six features, has acknowledged the film's autobiographical origins, from his bisexuality to his roots in Ootmarsum, like Tom and Ajani, to his years at the Film Academy in Amsterdam.
Jefferson Yaw Frempong-Manson and the rest of the cast are very good, but Bas Keizer is a real standout. He does a lot of acting using his eyes and body language, and it's always clear what he's feeling. Alink's longtime collaborator Thomas van der Gronde often focuses on his expressive face–the co-writer/ cinematographer's work throughout is quite stunning.
A strong recommendation for LGBQTA and international film collections, and for anyone who grew apart from a close friend once circumstances changed. It's hard and it's painful, but Alink has created something beautiful out of the experience. Recommended.
Why should public libraries add this Dutch gay drama film to their shelves?
Out stands out as a moving, visually striking coming-of-age story that captures the complexities of friendship, sexuality, and artistic ambition. Shot in luminous black and white, it offers an introspective alternative to more commercial LGBTQ+ dramas, appealing to patrons who appreciate international cinema, character studies, and queer storytelling grounded in realism. Public libraries that curate world cinema or LGBTQ+ collections will find it a worthwhile addition—accessible yet emotionally layered, and especially resonant for viewers who have experienced growing apart from close friends as life and identity evolve.
Is this Dutch drama a good fit for campus screenings?
Yes. Out works beautifully for classroom or campus programming focused on LGBTQ+ identity, film studies, or European cinema. Its themes of self-expression, creative drive, and personal change make it ideal for discussions about how identity intersects with art and community. The film’s autobiographical roots, naturalistic performances, and stylistic precision also make it an excellent case study for students exploring auteur filmmaking, cinematography, and queer representation in international contexts. Thoughtful and emotionally grounded, it invites meaningful conversation about youth, belonging, and the fluid boundaries between love and friendship.
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