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Curate Films signs Peter Hoar
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Director Peter Hoar is no stranger to fantastic; whether it's describing his talents or the extraordinary and imaginative worlds he creates.
His career has been impressively paved with mega-titles and a reputation for kindness and shrewd wit, and so it’s no surprise that Curate is ecstatic to add him to their roster.
His work on sought-after shows like Doctor Who, Marvel’s Daredevil and Netflix’s The Umbrella Academy, highlights his aptitude for larger-than-life characters and the supernatural. It’s always story-driven, with brilliant accents of humour and high-stake expectations. This unique marriage of action sequences and heartfelt moments makes him a strong series director, but also makes his most recent project all the more impressive.
It’s A Sin might be the earliest contender for best show of the year. Written by the multi-BAFTA Award-winner Russell T Davies, the 5-part drama is a revivifying story of gay culture and a heartbreaking depiction of the AIDS epidemic in London. Unlike Hoar’s other work, the leads are just your typical late-teens and twenty-somethings; no superpowers, no digital consciousness, no Time Lord. They’re young, they’re gay, and like anyone stifled by expectation, they’re escaping to the big city hoping to finally live unfiltered. History is our greatest spoiler alert, as we know these dream-chasers and sex-thrilled youths are thwarted by the terror of a new and unknown disease.
It’s a delicate narrative often set against an American backdrop, which makes this work all the more distinct, as it is important. It’s A Sin is undeniably English. The provocative title, the daring sex scenes, the bold writing - it’s a series that knows it’s breaking ground and doesn’t shy away from celebrating it’s community, no matter the present despair. That’s where the genius of Peter Hoar comes in.
A gay man in his own right, Peter Hoar brings an authenticity to the production. It’s more than just highlighting the indiscriminate victims of AIDS, It’s A Sin is also about calling attention to a bright community, a loving brotherhood, and a liberating moment where young boys got to love young boys. It’s this revelry that perhaps a different director would miss in an attempt to respect the tragedy. But appreciating how strong the enthusiasm for love and life was, only makes what they lost all the more heartbreaking. Hoar brings an unflinchingly intimate lens to these tender scenes. Perhaps his most emotional piece, It’s A Sin is a championing of what it means to be human.
Hoar triumphs as the director behind such a beautiful show, leaving great excitement for what he chooses to do next.
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