Relishing the freedom to openly be oneself can be a fulfilling and liberating experience, especially for those who have lived most of their lives hiding from disapproving family members and a close-minded society. So it is for Lourenço (Marco Pigossi), a Brazilian transplant seeking to resettle permanently in Provincetown, MA, a goal dependent on him acquiring a work visa to replace a tourist visa that’s about to expire. He has an added incentive to fulfill that objective when he meets and falls for Maurice (James Bland), a vacationer from New York who’s visiting the oceanside resort town before embarking on an ambitious, long-term nursing residency in the wilds of Angola. But can the two would-be lovers make this relationship work in light of the impending changes in their respective lives, geography and careers? What’s more, as this budding romance begins to blossom, Lourenço also wrestles with leftover baggage from an old relationship, unwanted advances from opportunistic lecherous would-be suitors and never-ending pressure from his mother back in Brazil, who is unaware of his closeted sexuality and routinely prods him to settle down and find a wife. While writer-director Marco Calvani capably and sensitively presents a tender, authentic, same-sex love story, the picture nevertheless tells a somewhat familiar tale whose narrative is not particularly original in the annals of LGBTQ+ cinema. It also struggles to blend its own brands of comedy and drama, both of which are handled well in their own right but whose inherent natures frequently come across as too extremely opposed to one another to harmonize in a believable, coherent whole. On top of that, the film also tries to cover too much ground at times, with a number of subplots that could have been easily trimmed or eliminated entirely without causing any undue harm to the picture overall. To its credit, though, this offering sincerely has its heart in the right place, despite the aforementioned shortcomings, backed up by an array of fine supporting performances and gorgeous cinematography showcasing the beauty and character of this charming Cape Cod resort town. Unfortunately, however, “High Tide” is yet another recent release that could have used some significant retooling to help it fully live up to its potential, especially given its predominantly conventional premise. Gay cinema has increasingly been moving forward in new and innovative directions in recent years, so, if filmmakers in this genre attempt to tackle new expressions of tried-and-true formulas like this, they had better have a good grasp of what they’re doing if they ultimately hope to succeed in the end.

"Lourenço" (Marco Pigossi) had come to America from Brazil to be with his boyfriend, but when that man absconded without so much as a text message, leaving him on his own, he finds himself having to come to terms with the prospect of leaving the very gay friendly Provincetown and returning to a provincial homeland where he lives with his devoutly Christian mother to whom he isn't "out". He makes a living working for the slightly flaky "Bob" (Sean Mahon) cleaning holiday lets and lives in a small bungalow in the garden of "Scott" (Bill Irwin) who has recently lost his husband and who fancies himself as something of a father future for his lodger. With his tourist visa soon to expire, "Lourenço" is at his wits end a little when he encounters "Maurice" (James Bland) on the beach. The pair click instantly and after some gentle courtship are soon intimate both physically and emotionally. "Maurice" is a nurse from New York and is only there for a week before embarking on a job in Angola, though, so what possibilities are there for an extended romance? Is this just a short term diversion for one, or both, men? This is quite a stylishly photographed feature that, at times, reminded me of "The Whales of August" (1987) as this seaside town winds down at the end of it's season, but the story itself it a little too undercooked. "Lourenço" is a character with plenty to say. He's handsome so is often in the sights of older men; he is vulnerable and he is also conflicted. He wants stability, love and an home but he must first deal with a few of his own demons and that's where this film rather sticks to safe ground and leads us along well-tramelled lines - especially if you watch a lot of gay cinema from Argentina or Brazil that attempts to reconcile social and religious attitudes to being gay with the internal struggles of it's rudderless lead character. Pigossi does deliver quite engagingly here, but I found Bland to be exactly that and the ageing queen stereotypes just a bit too conveniently employed to pad out this story. It's an easy watch and a good looking film, but it's lacking for much substance.