There need to be more filmmakers like Haim Tabakman, who makes his feature debut and shows what a quality gay film is supposed to look like (sorry, I'm pretty anti the sexed-up stuff that's passed as good gay cinema over the last decade or so). "Eyes" is executed with amazing grace, told in primarily visual terms, and bolstered by performances that are more about body language than spoken conviction (though that is flawless, too). As Aaron the butcher, Zohar Strauss wears a sea of emotion on his face, which reflects the conflict between his religious beliefs and his carnal desires. It's not your typical closeted performance; it's remarkably shaded.
Tabakman's technique is sneaky in its greatness. The filmmaking style isn't showy, and the realization of how immersed you are in this little world is alarming, as are the rather brilliant compositions sprinkled throughout. (One shot, involving a bus, a reflection, and a group of guys on a sidewalk, actually made me gasp.) And the way in which the sexual tension is stretched out like a frail rubber band, waiting -- dying-- to snap, is crazy intense. For these reasons (and for stupidly obvious reasons), the film has earned comparisons to "Brokeback Mountain." It's a worthy cousin.