Fashion designer Tom Ford’s debut feature is an audacious and (not surprisingly) stylish piece of cinema. Although he throws a wide array of cinematic tricks at the audience, most work well, adding to the experience instead of detracting from the narrative. At its heart, A Single Man is an intensely personal character piece that succeeds on the strength of its two incredible leads. While some of Ford’s decisions point to a penchant for style over substance, his restraint in allowing the actors to do what they do best shows surprising maturity.

Colin Firth plays George, the film’s namesake due to the recent death of his long time partner Jim (played in flashback by Matthew Goode). We meet George on the day he has decided his life is no longer worth living. George’s depression is compounded by reminders of Jim at every turn: as he dresses for work, as children play across the street, as he walks across the college campus where he lectures. While George has decided he has nothing left to live for, it seems those around him – most notably his best friend Charley (Julianne Moore) and pupil Kenny (Nicholas Hoult) – want nothing more than a taste of his elusive affection. As the day progresses towards his decided suicide, George is forced to reconsider the extent of his debilitating loneliness.

No review of this film can overlook the strength of Colin Firth’s performance. He commands the audience’s attention with his confident desolation and cutting English wit. Like those in George’s life, we quickly find ourselves hoping for something to make just a pleasant smirk cross his face. This seems to be a feat that only Charley can achieve – and the performance by Julianne Moore couldn’t be more pleasing. In her meatiest scene, she expertly transitions from stoic and sardonic to vulnerable and remorseful – and then back to place of contented realism. A great character to be sure, but this is the Julianne Moore that we’ve only been allowed to glimpse when Haynes is at the helm.

I’d be interested to know how large of a roll Ford played in the film’s look. It is easy to see that he lent his expertise to the costume department as every single person looks cut from a catalog. The production design is stunning, with each set and prop offering up a visual feast (how about that beautiful vintage Mercedes coupe?). But the real surprise is the cinematography. This is DP Eduard Grau’s first feature (he also shot Sundance headline maker Buried) and the visual trickery is abundant. The subtle shift of color saturation really worked for me, but a few of the effects (most likely done in post) felt a bit heavy handed. Still, no one will argue that this film is not stylish.

As much as I enjoyed it, this gem is not without its blemishes. The end is predictable and not entirely satisfying and Hoult’s performance leaves something to be desired. But these are minor complaints in a film that is both moving and a pleasure to watch. It is an impressive debut from Tom Ford, who as Variety says, is certainly a director to watch.