In Critically Acclaimed 'Solo,' Théodore Pellerin Channels his Inner Drag Persona

Sophie Dupuis's third feature film, set in Montreal, centers on rising drag artist, Simon (Théodore Pellerin), who enjoys performing at his local club. Simon gets along with his fellow drag queens and has the constant support and love of his talented costume designer sister, Maude (Alice Moreault), as well as his accepting family.

Very early in the narrative Simon meets Olivier (Félix Maritaud), a handsome charismatic charmer, from France, and sparks fly. The two become inseparable. In addition, the sexy couple become a sizzling drag duo onstage, exciting the crowds. Alas, their dynamic creative and romantic relationship begins to show cracks as Olivier's domineering and destructive behavior emerges.

Meanwhile Simon's estranged opera superstar mother, Claire (Quebec screen icon Anne-Marie Cadieux), sweeps into town and parallels become obvious between mamma and lover. Simon must decide if he is going to continue to be mistreated by those who purport to love him, or if he will break free from toxic relationships.

"Solo" is a keen work that deals with desire, insecurities, relationship toxicity, and self empowerment. It opened to strong reviews last week in its first dates as part of its US release. It currently has a 91% on Rotten Tomatoes.

In the New York Times, critic Beatrice Loayza wrote: "'Solo' is a subtle snapshot into a gay man's profound yet familiar upheavals. Simon's drag spectacles may be intentionally fierce and operatic, but there's something refreshing about this drama's intimate scale and lack of interest in sweeping tragedies, especially in the context of queer cinema."

David Rooney in The Hollywood Reporter adds: "Despite its intermittent similarities to dated dramas about sad gay guys yearning to be loved, 'Solo' clearly comes from a place of authentic feeling, with characters that never ring false."

Key to the film's success is Pellerin's immersive performance. His Simon is incredibly nuanced and filled with contradictory and confused emotions. Simon is an assured powerhouse onstage and in drag but offstage, he's a vulnerable little boy. The 26-year-old Pellerin has worked across all three mediums since the age of 16, beginning with stage roles and short films. His feature film work includes Xavier Dolan's "It's Only The End of the World," Joel Edgerton's "Boy Erased," Eliza Hittman's "Never Rarely Sometimes Always," and Ari Aster's "Beau is Afraid." He's also appeared in Dupuis' first two films, "Family First" (Canadian Screen Award for Best Actor) and "Underground."

"Solo" brought him a Canadian Screen Award nomination for Best Lead Performance.

EDGE had the pleasure of chatting with Pellerin about "Solo."

EDGE: What was your prep work like for Simon?

Théodore Pellerin: It really started with the physicality... working with Gerard Dures, who's a choreographer/dancer... ballroom, voguing. The work started slowly with, like, learning to walk in heels. And is that actually possible? And slowly tapping into our own femininity and letting ourselves be comfortable in that and get accustomed to it and let it go through us... The work started quite early on... We had a lot of table work with Sophie and Félix. Then, rehearsals with everyone. So, it was a long process...

EDGE: You've starred in all three of Sophie's feature films to date. Can you speak about the collaboration with her, and specifically about how "Solo" came to be?

Théodore Pellerin: I was 18 when I auditioned for "Family First," 19 when we shot the film, and it was a really big turning point – an amazing part to have. It was the first time that I had a character who was so violent, sadistic, and had such an opportunity for layers and for playfulness. Also to tap into something very different than what I had been doing for a few years as a young actor... Sophie is so loving and generous as a director and as a writer. She is so in love with her actors, in the best possible way, so you feel incredibly safe under her eye. She also creates a space for real preparation with rehearsals, so when we get on set we've explored so much of it...

It was also a revelation of what work could be, and how much I enjoyed doing it. It was the first time where I truly felt like I could act, and I could be free. The preparation was so great and long I could then completely let go and act... And every part that she has given me has been incredibly terrifying, and difficult, and amazing to do. She is a real friend and anchor. And I can't believe how lucky I am to have had her and have her in my life as someone to work with, and to be given such a space to play.

EDGE: Let's discuss drag! Many amazing drag artists are these commanding, empowering presences on stage. But, sometimes, off stage they were kind of shy and reserved. That's a generalization, but I felt that about Simon. He got his power from getting in touch with his femininity.

Théodore Pellerin: I think a big, big aspect of the work for this one was to actually feel like I wasn't putting on a femininity or a certain way of moving or a certain way of being for the stage. That the stage and that space was where I felt my most comfortable and my most able to deploy and just be playful and feel confident and in my element. So, the personal work for me was allowing myself to feel that way in my femininity and not having it be something that came from outside, but having it be something that is really mine, and embracing what feels most natural and best.

EDGE: Your chemistry with Félix is beyond palpable. It's key to understanding why your character puts up with him for so long. Can you speak about how you, Félix, and Sophie created an environment where this was able to flourish?

Théodore Pellerin: Yeah. We wanted someone who was incredibly charismatic to play Olivier, because what can keep people in very toxic relationships is when you're infatuated with someone and everybody around you is [as well]. Everybody puts him on such a pedestal.

The process was just to get together and work on the script and talk through scenes. We did a month of that, just the three of us, have meetings and talk and improvise scenes, and try things out, and spend time together... Time really is key... And we got along. I love Felix, and that could have not happened. He could have hated me, too. But we liked each other. So, that was very helpful.

EDGE: I appreciate how Sophie staged the intimate scenes. There was nothing gratuitous about them yet, they were so sexy. Did that change much from page to screen? Was it something that you all worked on together?

Théodore Pellerin: So, that wasn't on the page. We asked for that. We wanted them to have sex at some point. Because the question that we kept asking was, Why does he stay? And how can we make it believable? So, we had to have an aspect of physical chemistry that was there, and also as a way of reconciliation after arguments, and then sometimes [for] leverage or, sometimes, power dynamics that get very troubled. But it wasn't on the page. We added that.

But yeah, people ask me, like, "Why is he staying?" I think that's always the question that we... ask these people who stay in those with toxic relationships, right? Even violent in relationships. And when you're stuck in one of them, it's really hard to understand what it creates in someone. That's what we wanted to explore, the disintegration... where you're not sure where you're going, or what the truth is anymore. It gets so blurry. I think that can happen in relationships where love is so conditional... There's always this dance, and you start to morph yourself and transform to adapt to become this person who will have this constant love, and not this love that will be taken away. Then you start dissociating and losing yourself, because you aren't loved... And it's the same thing with his mom. He is not in a secure relationship where things are discussed, Everything is hidden... And that can really put you in a state of distress and really lose contact with yourself. And you don't know anymore what you deserve, or how you should be treated. And most of the time, they will do something that's awful, and then you will end up apologizing and being the one who feels like, "I did something wrong," right? It's terrible to see someone stay in a relationship where they shouldn't, but that happens all the time.

EDGE: There is an "All About Eve" vibe with Olivier. Whether it was conscious or subconscious, he seemed to want to destroy Simon's confidence and almost take over his life.

Théodore Pellerin: Yeah, yeah. I think that that's also what we wanted, to start off as someone who is very strong – he doesn't start off as a victim at all. He's successful. He has a strong family. He has friends. He has all these things, the security that Olivier doesn't really have. Olivier is new to the country. He doesn't have any relatives. So, yes, I think that there is very much an aspect of that, which is why Olivier is attracted to him. He kind of wants to be a version of him. And Simon wants to be a version of Olivier. There's very much that exchange happening. Oliver is just a little... darker.

EDGE: I loved Simon's relationship with his sister, Maude. Alice Moreault is amazing. A part of me wanted a film exploring just their relationship.

Théodore Pellerin: Yeah, to me, it's the relationship of the film – the most important one. It's the one we start with, and it's the one we come back to. And it's the one where love is truly unconditional, and it's very strong. Yeah, I very much agree with you. And I think that Alice is an extraordinary actress, and I loved all my scenes with her. It's definitely the relationship that is the most healthy, and the most important for him.

EDGE: Does your process change from film to film and across mediums? Or do you have a particular way you like to approach the work?

Théodore Pellerin: It does. It's always dependent on the script and the needs of the character and the story. And also, the director... What I have learned that I need – and it will sound very simple – but it's truly to answer all the questions. So, my technique is [that] whenever a question arises, I need to answer it. That is the way that I work. If I have a question about a world, about a dynamic, I will go and read about it and learn everything that I can learn before I go back to the script. And that question is answered... So, my goal is, when I get on set I can, in one breath, talk about the whole script and the whole character, because everything relates to everything. And everything makes sense... I can then be spontaneous and live through it, because I am not in fear of having questions unanswered.

EDGE: What can we see you in next?

Théodore Pellerin: Well, there's "Franklin" on Apple TV+ that just came out last month, with Michael Douglas. And "Becoming Carl Lagerfeld" that comes out on Disney+ and Hulu in the States on June 7th.

Watch the trailer to "Solo."

"Solo" is currently playing in New York at IFC Center and opens Friday, May 31, 2024, in Los Angeles at Laemmle Glendale. The film opens in wider release on June 6, 2024. For a complete list of theaters, follow this link.