Uncle David

Ashley, a young man with an intellectual disability arrives at his uncle David's flat to escape an abusive home. David, an eccentric and theatrical figure, takes him in and slowly shifts from caregiver to sexual partner, offering strange philosophical commentary about identity and reality as their intimacy deepens. Ashley confides a wish to end his life, and David does not refuse, agreeing to help in a way that turns their private bond into something morally fraught. The film keeps the focus tight on their interactions, the imbalance of power between them, and the unsettling atmosphere that grows as their relationship moves into darker territory.

Released in 2010, Uncle David was directed by Gary Reich and Mike Nichols, and based on performance work by David Hoyle and Ashley Ryder. The production intentionally maintains a stripped-down, low-budget look that echoes its stage origins.

No mainstream box office totals are commonly cited, the film circulated mainly at festivals and underground screenings. It did not register as a commercial success, reaching viewers through limited runs, specialty distributors, and word of mouth within niche circuits.

Reviews and viewer responses have been mixed to hostile, reflected in a low average rating from audience votes. Critics and viewers who take issue point to ethical concerns around consent and representation, while others note powerful performances and a raw, confrontational approach. Central themes include abuse, loneliness, theatrical identity, the ethics of care, and how performance can blur reality.

The movie prompted debate in queer and arthouse communities about the line between transgressive art and exploitation. It never became mainstream, but it continues to be discussed in contexts that examine performance art moving into film, and in conversations about how cinema portrays vulnerable people and extreme moral choices.