While, for queer people, the closet primarily represents a manifestation of individual fears and collective limitations, it can also provide a sense of security and allow for complex games of seduction. A particular stage in the lives of those in the 2SLGBTQIA+ community, the closet is a porous, dynamic, and complex space–time. It is a chronotope (as defined by Mikhail Bakhtin) which, taken to its extreme form, can become binary, dichotomous. This tension is represented in the film Tom at the Farm (2014) by Xavier Dolan, adapted from the play of the same name by Michel Marc Bouchard (2011). In the film, Tom is forced into his deceased ex-partner’s closet by the latter’s family members and experiences a particular form of love, grief, and filiation, as poison and cure, like a Pharmakon. This paper will explore the representation of the closet in Dolan’s Tom using the concept of the Pharmakon, introduced by Plato in Phaedrus and later developed and deconstructed by Jacques Derrida. With this critical tool, I aim to analyze the narrative of the closet and queer bodies as they are visually represented by Dolan. We will see how the specter of the deceased haunts his family and loved ones from beyond the grave/beyond the closet. While experiencing the trauma of the closet, I will discuss Dolan’s cinematic representation of Tom’s complex emotions associated with desire, belonging, and (re)discovering oneself in a remote place and a circular time.