Seeking safety and stability in a quiet neighborhood, an artist discovers the minefield-esque reality of a suburbia laden with social expectations and illicit desire.

Shaken by an incident of homophobic violence, a painter and his husband move into a sleepy middle-class district to recover and regroup. While his partner works long hours at an office the artist is left to fend for himself in the blistering summer heat, and their new home grows increasingly oppressive. The friendliness of the neighbors feels like misplaced sympathy, their vigilance like covert control. Even worse, his efforts to process his shocking ordeal feed his self-doubt and sap his creativity. Just when loneliness threatens to tip into isolation, a delivery man agrees to pose for a portrait and something—is it fascination, or attraction?—finally stirs inside the painter and breathes new life into his work. 

In this riveting evocation of longing and self-discovery, lauded author, screenwriter, and director Angelo Tjissens asks: What do we sacrifice by conforming, and what do we risk by letting our passions lead us? Reckoning the exchange rate between security and self-discovery, The End of the Street shows just how brittle acceptance can be.