Masculinity has always been the major topic of concern in the work of Danish filmmaker Nicolas Winding Refn. Just look at the series he made his name with, the Pusher trilogy, which in three installments provide three very different but equally compelling stories of occasionally brazen, often buffoonish masculinity within various facets of the Copenhagen illegal drug trade. So it is no surprise that the directors latest work (his ‘breakthrough’ years, if you will) are continuously concerned with the turbulent lives of men, culminating this weekend with his most ‘mainstream’ entry, Drive (in purely box-office terms, as Drive in its opening weekend made more than 84x what his previous two films made together, yet the film is still ripe with Refn’s eccentric signature). Refn’s thematic and narrative preoccupation with masculinity has produced three fascinating portraits in as many years. The temporal and social contexts of Bronson, Valhalla Rising, and Drive couldn’t be more disparate, but between them he’s produced an unofficial trilogy of sorts connected not only through his deliberate pacing and striking, almost invasive visual style, but more importantly through their shared concerns as portrayals of three aggressive men who wander their respective environments in solitude.