• LIKE on Facebook • FOLLOW on Twitter • FOLLOW on Instagram

• SUBSCRIBE on YouTube • BUY ME A COFFEE on Ko-Fi

Director: Mikko Mäkelä 
Stars: Ruaridh Mollica, Jonathan Hyde, Hiftu Quasem
Producer: Bêtes Sauvages

“I’ve always liked the name Jonathan.”

Max Williamson leads a double-life: London-based writer by day, sex worker by night.

As a writer, Max (Ruaridh Mollica) is gearing up for a headline interview with Bret Easton Ellis, whilst also authoring a novel inspired by his sexual escapades. The sex work, originating from an Escort platform, sees Max work as Sebastian.

As a writer, Max balances the tasks of being critical and creative. Additionally, he provides feedback for the writing of his co-worker, Amna (Hiftu Quasem). From juggling writing tasks to juggling balls, Sebastian is often hired by the older man. Usually lonely men. Sebastian sees Sebastian used by shy men, aggressive men, and even a group of younger men, which takes Max out of his comfort zone in his work performance.

When hired by Nicholas (Jonathan Hyde), Max is introduced to a realm of sex work that goes beyond sex. Seemingly the most elderly of clients, Nicholas is also the most incredible. Well spoken and well educated, Nicholas – played delightfully by Jonathan Hyde – is not only incredibly decent, but the warmest character in Sebastian. However, his employment of Sebastian sees Max’s two worlds merge into one when new emotions and situations are encountered.

During the course of his sex work, we see Sebastian’s persona evolve, in contrast to the personality of Max declining. Gradually, the oppositional lifestyles begin to blend, establishing a dangerous compound, where Max sees himself in danger as both a freelance writer, and Sebastian the sex worker.

This collision of worlds, is literally the juggling of three or four strenuous jobs or tasks at once, resulting in a representation of this character that will (uncomfortably) feel right at home and resonate with many a young person trying to break into various industries, or just trying to make ends meet. One of many instances, subtle or overwhelming, where Sebastian attempts to bring realism to the table.

Given the rawness of sex work, or the potential rawness, at least, Sebastian is utterly brilliant in depicting instances of grime and sleaze in some surroundings encountered in the film. However, this is balanced with more joyous outputs, often entailing the encounters with Jonathan Hyde. Of the dual lifestyle, there is hardly anything that is glamourised or false in its presentation – be it a good or bad incident. Given the context of Sebastian, there is due diligence in presenting sex work as realistically as possible, from those with rockstar lifestyles from it, to those making ends meet.

Mikko Mäkelä’s Sebastian is an important and delicate work of LGBTQ+ art that presents important characters living lifestyles that are crying out for more representations and commentaries.