“How far can a filmmaker push an awkward premise? What situations and complications can be extracted from it? What surprises and transformations can divert the seemingly stable course of the plot? Despite its humble appearance as a minor work made for television, The Man with the Suitcase is not short on answers to these questions. The film (which Akerman also wrote) turns its premise into a goldmine, cruising the full range of possibilities: from verbal implosion to gestural explosion; from ignoring the man when he’s present, to fixating on him when he’s absent; from controlled order to engulfing chaos.” Though its hour-long length and origin as a TV movie have tended to rank The Man with the Suitcase as one of Chantal Akerman’s minor works, Cristina Álvarez López finds it a thorough exploration of one of the director’s key themes, the value and hazard of routine.
“As the title implies, in its aggressive-casual way, A Very Natural Thing wants its viewers to share in the easygoing mundanity of gay male love. And though that title may make it seem like the film has been geared toward liberal hetero audiences as a kind of teaching moment (see this year’s “I’m just like you” normie-bullying in the narration and trailers for the otherwise sweet Love, Simon), A Very Natural Thing was primarily intended as a sight for sore eyes, a source of identification for gay viewers.” Christopher Larkin’s A Very Natural Thing has stayed off straight movie audience’s radar for the same reason it’s fairly central to gay ones, Michael Koresky argues: a casual, nonjudgmental insistence that all aspects of gay life are matter of factly, marvelously normal.