The Judas Kiss (2003)

The Judas Kiss (2003)

Director: Seamus Rea
Scenario: Seamus Rea
Genre: Short
Country: USA
Year: 2003
Duration: 12 min
Rating: 8/10

Actors: Dominic Power, Norman Cawthra, Tristan Temple, Harry Roberts, Bruce Schooling, Karen da Silva, Jim Green

Description:

Sinoć sam pričao sa jednim prijateljem kojeg istine radi i ne poznajem mnogo , ali osjećaj da ga dugo znam je stalno prisutan kad pomislim na njega!
Pričao mi je kako je raskinuo sa momkom koji ga je na neki način varao! Čovijek sa kojim je živio i dijelio sve silne emocije, iskrenost i povjerenje krio je od njega svoju ovisnost o cruisingu!
Razočarenje koje je moj prijatelj doživio je pojačano osjećajem da ima stvari koje nisu podijelili jedan sa drugim! Jednom izdato povjerenje se nikada više nemože nadomjestiti. Može se pokušati ponovo izgraditi ali nije mi poznato da je neko to i uspio!

Izraz ovisnost o cruisingu sam smislio jer ne poznajem terminologiju za tu pojavu. Imao sam prilike da vidim ljude koji se kriju po mračnim ćoškovima i ko sove gledaju razne izgubljene duše koje po parkovima traže seks ili neko kratkotrajno uzbuđenje koje će  zaboraviti prvim izlaskom sunca. Poneki lutaju po zaraznim WC-ima i underground mjestima pa ko neki zombiji vrebaju jedni druge nebi li ih uhvatili za onu stvar! Naravno nakon pražnjenja bježe na svjetlo dana i ponovo postaju ljudi! Voajeri se zadovolje gledanjem tog nazovimo seksualnog čina u nekom žbunju, te nakon kratke masturbacije napuštaju mjesto zločina i bježe pod okrilje porodice ili sigurnog doma!
Ovaj film se ne bavi cruisingom kao pojavom među pederima.

Izdaja, osjećaj nemoći i gubitka se protežu kroz ovaj kratki film.
Nije ni svaki gubitak uzrok patnje i bola! Ovaj prelijepi kratki film me je podsjetio na smrt mog oca. Kada je umro na trenutak sam osjetio olakšanje. Kao da mi je neko skinuo teret sa srca. Njegova smrt je meni značila da neće doživjeti razočarenje i patnju što mu sin nije ispunio očekivanja i želju da kroz unuče vidi produženje loze.

This emotive short film takes place during a few seconds on the same night in the same London nightclub as Two Minutes After Midnight, but thematically it's much more grounded in the human heart as a man (Power) watches his boyfriend snogging a stranger. Handel's aria 'Sherza Infida' takes over the soundtrack as we spiral through this young man's mind, focussing on his relationship with his partner as well as his father. There's no dialog, just thoughts and feelings--and it's extremely effective, especially since, again, Rea shoots it with the highest production values available. It looks terrific! And it really gets under the skin emotionally.

Eating Out: All You Can Eat (2009)

Eating Out: All You Can Eat (2009)

Director: Glenn Gaylord
Scenario: Phillip J. Bartell, Q. Allan Brocka
Genre: Comedy
Country: USA
Year: 2009
Duration: 80 min
Rating: 5.1/10

Actors: Rebekah Kochan, Daniel Skelton, Chris Salvatore, Michael E.R. Walker, Julia Cho, Mink Stole, Leslie Jordan, John Stallings, Maximiliano Torandell, Sumalee Montano, Cristina Balmores, Rick D'Agostino, Tabitha Taylor, Greg McKeon, Ryan Adames

Description:
Serijal romantičnih komedija Eatin Out se nastavlja. I treći dio ove priče iako malo dugačije koncipiran drži se prepoznatljive formule:

2 pedera+1 str8 ( fag stag ) + 1 ( ili 2) fag hag = Eating Out.

Naravno uz potpunu izmjenu glumaca u odnosu na predhodna dva dijela.
Sve u svemu stare boljke oko loše glume nisu riješene, tako sve izgleda kao neki školski skeč u dramskoj sekciji srednje škole!
Da nema ove Tiffani koja sa ovim fag stag str8 momkom pokušava da pomogne dvojici srodnih pedera da ostvare romantičnu vezu, film bi bio poptuna glumačka katastrofa.

Ali ako zanemarimo ozbiljni glumački nedostatak, film je odličan za pogledati ga tokom nedeljnog poslijepodneva. Uz obilje provokativnih scena i par komičnih situacija nasmijaćete se kako su se dva pedera pomirila uu bukvalno rečeno jedan str8 kurac.
Jadni str8, gay friendly momak nije ni sanjao da će mu dva pedera zajednički tako dobro popušiti kitu!
Da li ste znali za izraze fag hag i fag stag?

Fag hag je riba koja ima za najboljeg prijatelja pedera. Uostalom večina pedera ima i po neku prijateljicu. Sa njom dijele sve što im se dešava u životu i prema njoj se ponašaju kao str8 momak prema str8 momku. Fag hag je izraz nastao u USA kao pogrdan naziv , a danas se u gay komuni odomaćen i prihvatljiv izraz za najboljeg ženskog prijatelja!

Fag stag je str8 momak koji ima za najboljeg prijatelja gay momka. Ponekad i izađe sa njim u gay klub kako bi mu pomogao da "navata" neki zgodan komad ili da se dočepa fag hag ribe!
Dosta je bilo edukacije, sad gledajte film!

Tiffani and her friend Casey try to lure the gorgeous Zack with a phony online profile using the image of Tiffani’s buff ex, Ryan… which works fine until the real Ryan shows up. Only through some fancy footwork, advice from his Aunt Helen and mentor Harry, and a daring sexual escapade can Casey figure out how to set things right and perhaps even find the love he’s been seeking.


Absolutely essential, Eating Out: All You Can Eat is the story of Casey, a naive new arrival in West Hollywood, and his misadventures trying to score a date with the super-hot Zack. Filled with disgustingly hysterical jokes, EA3 is a rare breed, it works as both a romance and a sex comedy.
A raunchy sex comedy or a gay romance, however you see this third entry in the highly successful series, it’s a wonderful film, filled with laughs, hot guys and a beautiful love story. Beside the requisite dirty jokes, director Glenn Gaylord and writer Phillip J. Bartell developed this story as a love story, a gamble that paid off big-time. Sexy temptress/fag hag Tiffani (Rebekah Kochan reprising her role) and her boyishly cute friend Casey try to lure the buff and sweet Zack with a phony online profile using the image of Tiffani’s buff ex, Ryan. That works fine until the real Ryan shows up and chaos ensues. Only through some fancy footwork, advice from his Aunt Helen (Mink Stole) and mentor Harry (Leslie Jordan, “Sordid Lives”), and a particularly photogenic hook-up, can Casey figure out how to set things right and date Zack. Besides the gay icons in the film, Eating Out: All You Can Eat introduces six openly gay actors in lead roles including: Daniel Skelton, Chris Salvatore, Michael Walker, John C. Stallings (“The Janice Dickinson Modelling Agency”), Maximiliano Torandell, and Rick D’Agostino.
Taking inspiration from the classic screwball comedies of the thirties, the writers and directors have taken the decades-old formula of mistaken identities and turned it on its head and brought the concept into the twenty-first century. Judging by the ecstatic crowd reaction at the screening we were at, Eating Out: All You Can Eat is a major hit — and even better than the second edition.

Priest (1994)

Priest (1994)

Director: Antonia Bird
Scenario: Jimmy McGovern
Genre: Drama
Country: UK
Year: 1994
Duration: 98 min | Argentina:98 min
Rating: 7.1/10

Actors: Linus Roache, Tom Wilkinson, Robert Carlyle, Cathy Tyson, Lesley Sharp, Robert Pugh, James Ellis, Christine Tremarco, Paul Barber, Rio Fanning, Jim R. Coleman, Bill Dean, Gilly Coman, Fred Pearson, Jimmy Gallagher

Description:

Volim ga, želim da je stalno pored mene, je li to grijeh?
Ako ste sveštenik onda je zasigurno taj grijeh još veći!

Biti gay, a biti svešenik za crkvu definitivno nije nešto što bi trebalo biti u božjoj milosti.
U božjem oprostu ima mjesta za svaki grijeh, a svako iskupljenje ima svoju cijenu. To zna svaki hrišćanin i to nije diskutabilno sa stanovišta vjere.
Diskutabilno je da li je ljubav između dva muškarca grijeh? Ima li crkva pravo da pogriješi i može li priznati grešku staru hiljadu i više godina?
Ako je bog učinio da ljubav bude pokretač čovjeka i najjača snaga čovječanstva, da li je onda svaka ljubav vrijedna poštovanja? Ako je iskrena i čista ma kojem obliku bila ispoljena, ljubav je nešto što može biti samo dar od Boga.
Sdruge strane crkveni fanatici ljubav između dva muškaraca pripisuje sotoni, zaboravljajući da Sotona nije u stanju da podari bilo kakvu ljubav, već samo mržnju, bijes i jad.
Greg Pilkington je katolički sveštenik koji dolazi u parohiju da zajedno sa Ocem Matthewem okuplja ljude u vijeri i propovjeda ljubav prema bogu i crkvi. Zatiče Oca Matthewa sa ženom i ošto ga prekorijeva što je prekršio zavijet celibata. Međutim Greg i pored toga ostaje tolerantan prema Matthewu i njegovo sagrešenje oprašta.
Ono što Grega dovodi u istinsko iskušenje je ispovijed djevojčice Lise koja mu otkriva da je njen otac seksualno zlostavlja. Ispovijed je nešto što prema crkvenim zakonima mora ostati tajna, pa ma kako teška bila. Greg koji se lomi da prekrši zavijet ćutanja uz nebrojene molitve bogu da spasi malu Lisu patnje i sam podliježe neoprostivom grijehu! Skidajući svešteničku odoru odlazi u gay barove i u jednom od njih upoznaje protestanta u kojeg se iskreno zaljubi.
Za tvrdokorne katoličke crkvene pristaše ovo je dovoljno da cijela filmska priča sagori na lomači.
Međutim realan život nam nudi opciju da prosudimo šta je u svemu tome istinski grijeh, a šta ne! Voljeti muškarca to zacijelo nije, a ne učiniti ništa da se prekinu patnje male Lise u srcima većine ljudi ipak jeste!
Dileme, osijećaj bespomoćnosti, griža savijesti i nedozvoljena ljubav prema muškarcu su emocije koje će nas pratiti kroz cjeli film i nametnuti nam da preispitamo sami sebe i pomjerimo granice između dobra i zla ali i grijeha i blagoslovljenog življenja!
Film me je na trenutak vratio u vrijeme kad sam se zadnji put vidio sa voljenom osobom. Ovaj poslijednji balkanski rat je uspio da nas razdvoji i nametne nam sopstvena pravila. Iako sam ja pravoslavac , a on katolik , sjedeli smo u istoj crkvenoj klupi i molili se da naša ljubav pobijedi sve strahote i iskušenja oko nas!
Nakon što smo sa suzama u očima izašli iz crkve, uputili smo se na autobusku stanicu gdje su nas čekali autobusi koji su nas zauvijek razdvojili! Iz tog iskustva sam naučio da je ljubav jedini razlog zbog kojeg se treba odricati i boriti. Voljeti nekoga je najsvetije i najljepše u našim životima!

 

PETER STACK, Chronicle Staff Critic

Because film by its very nature is steeped in images of the real world and oriented in action, it has trouble capturing a sense of the spiritual. But it is precisely that elusive sense, emerging from the mire of sin and guilt, that makes ``Priest'' an exceptional movie.

There has been a smattering of complaint about ``Priest,'' opening today at the Bridge in San Francisco (it's due later at other Bay Area theaters) from conservative Roman Catholics. The complaint seems misplaced. This powerful drama looks at the tortured soul of a gay priest and comes up with a curiously inspiring statement about faith and morality.
``Priest,'' from Britain's Antonia Bird (``Safe''), won the Audience Prize at this year's Toronto International Film Festival. Set in inner-city Liverpool, it stars the hot young British actor Linus Roache as the Rev. Greg Pilkington, a dutiful, idealistic diocesan priest assigned to a tough parish to replace an older clergyman who has lost his marbles because of the pressures of working in grim, poor neighborhoods.

PARISH PASTOR
Full of a desire to do right in his new job, Father Greg hits a snag almost the minute he arrives. He discovers that the gregarious parish pastor, the Rev. Matthew Thomas (Tom Wilkinson, who plays Mr. Pecksniff in the PBS serial of Dickens' ``Martin Chuzzlewit''), is living an essentially married life with the parish housekeeper, Maria, played by Cathy Tyson (``Mona Lisa'').
Tyson has one of the film's best lines when she steps forward to confirm that celibacy is no longer part of Father Matthew's calling.
This discovery opens a painful rift between the two men. Father Matthew is a progressive whose approach is to bend the rules to serve the wild cards of humanity. But young Father Greg is adamant that church doctrine, however severe, should be followed to the letter in service to God.
Greg's ideals are thrown into a spinning
hell of self-doubt and guilt after he dons a leather jacket to venture into a gay club and gives in to his sexual desire for a young man he meets named Graham (Robert Carlyle).
Things get worse when the next day a young girl confesses to Father Greg that she is being abused by her father. Bound by the seal of confession, and tormented by the evil around him and his guilt about his sexual identity, Greg's moral convictions begin to unravel. But he keeps his troubles to himself.

 

FAITH AND MORALITY
Fans of novelist Graham Greene may recognize a touch of the tortured discussions of faith and morality that crop up in his books -- at one point Greg weighs the agonies of his soul in a rambling speech during a seaside walk with his gay friend. But he's essentially talking to himself.
Roache plays the priest so deftly you get a rare sense of a man's inner struggle, and of his inability to ease up on himself because he takes his responsibilities as a clergyman so seriously. It's an amazing performance that makes utterly human a man's quest for spiritual truth while he tries to hide from the truth about himself.
This film is extraordinary for the themes it explores -- sometimes with delicious humor -- beyond the obvious. It's one thing to see a man struggle to find himself, another for a film to carry the fight to a luminous moment that brings that struggle into the larger world where differing visions of truths contend.
All of this is played out against a background of a working-class parish filled with strong characters who make their mark, for better or worse, in telling moments on the screen.
The movie becomes a fascinating glimpse at a vast subject -- intolerance vs. understanding. There's some preachiness in ``Priest,'' and yet you go away feeling the embrace of

Tarik El Hob (2001) aka The Road To Love

Tarik El Hob (2001)

Director: Rémi Lange
Scenario: Rémi Lange, Antoine Parlebas
Genre: Drama
Country: France
Year: 2001
Duration: 70 min
Rating: 7.3/10

Actors: Karim Tarek, Sihem Benamoune, Abdellah Taia, Mustapha Khaddar, Farid Tali, Mehdi Jouhar, Roschdy El Glaoui, Riyad Echahi, Zakariya Gouram

Description:
Koliko ste upoznati sa homoseksualizmom u arapskim zemljama? Da li je arapska kultura tolerantna prema homoseksualcima ?
U nekoliko arapskih zemalja u kojima sam boravio sam primjetio da se muškarci drže za ruku dok hodaju ulicama. Bilo mi je čudno kako tako javno pokazuju privrženost. Privrženost da, ali na njihov način. Kada se dva druga drže za ruku , ne znači da su i pederi. Oni su naprosto prijatelji.
Inače arapi za sebe vole da kažu da su macho jebači. Kod njih nije sramota ako imaš sex sa muškarcem, al pod uslovom da si ti taj koji jebe. Ako dopustiš da budeš pojeban to je već sramota.

Iz ovog polu dokumentarnog filma možete otkriti ponešto o pederizmu u arapskom svjetu.
Karim, student sociologije živi u prijestonici arapa - u Parizu sa djevojkom Sihem.
Nakon jedne emisije o pederima u Egiptu, Karim odluči da snimi istraživački dokumentarac o pederizmu medju arapima.

I tako ide od jednog do drugog pedera, intervjuiše ih, bilježi njihove nesuvisle pederske priče, snima sve o njihom načinu života.

Sve dok ne upozna stjuarta Ferida, kada počinje da mjenja mišljenje o ljubavi medju muškarcima.
Sa njim odlazi u Maroko, gdje nastavlja sa snimanjima. Zapanjujuća je priča o pederima medju arapima. Jedan šeik je po nekim pričama imao harem muškaraca. (Nadam se da ih nije kastrirao!)
Trebam li vam reći da je Karim na kraju dobio prsten od Ferida?
Poučan film , koji će vam razbitii predrasude o arapima! ( ukoliko ih imate!)

The story of an Arab student in Paris who discovers his homosexuality while working on a video project for his sociology class, Rémi Lange's ''Road to Love'' doesn't add much to the coming-out genre, as it has been established in countless Sundance competition films and made-for-television movies.
The student, Karim (Karim Tarek), is living in a seventh-floor walk-up with his doting girlfriend, Sihem (Sihem Benamoune), when he decides to make a documentary about homosexuality in the Arab world for his class at the Sorbonne. (Term papers, it seems, are a thing of the past.)
He tries to track down some gay Muslim men to interview, first by hanging around in front of a gay tea shop, then by placing an advertisement in a newspaper. All of Karim's respondents make advances toward him, provoked by his willowy frame and large, expressive eyes, which Sihem likens to the great, yearning orbs of Vermeer's ''Girl With a Pearl Earring.''

Karim is disturbed at first, but before long he begins to feel flattered by all the attention. He strikes up a friendship with Farid (Riyad Echahi), a serious young flight attendant who puts him in touch with gay Muslims in Paris and elsewhere, all the while incubating his own crush on Karim. As Karim spends more and more time with Farid, Sihem starts getting anxious, as well she might.

It's clear where ''The Road to Love'' is headed after its first few minutes, and the feature, crudely shot with what seems to be an amateur video camera, has few stylistic compensations. But some interesting reporting enters on the edges of the familiar story line, as Karim uncovers the complicated and often contradictory attitudes toward homosexuality in Islam.

Homosexual relationships, he finds, are tolerated in many Muslim cultures as an outlet for pent-up desires that must otherwise wait until marriage. There was even one relatively modern culture, centered in the Siwa oasis in Egypt, where marriage ceremonies between men were performed, though those marriages dissolved when the time for grown-up, reproductive coupling arrived. Only passive homosexuality, Farid explains to Karim, is considered truly shameful. Sex, in other words, is power, in which a sense of domination counts for everything -- not, alas, a notion exclusive to the Arab world.
But as much as you would like to linger beneath the shady palms of Siwa, the film eventually returns to its well-worn dramatics. ''Maybe,'' Karim says of his documentary project, ''I chose it unconsciously to reveal my preference for men.''
Under the circumstances, -- Karim is flying off to Marrakesh with Farid for a romantic weekend -- that does look like a distinct possibility.

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The Toilers and the Wayfarers (1996)

The Toilers and the Wayfarers (1996)

Director: Keith Froelich
Scenario: Keith Froelich
Genre: Drama
Country: USA
Year: 1996
Duration: 75 min
Rating: 6.5/10

Actors: Matt Klemp, Ralf Schirg, Andrew Woodhouse, Jerome Samuels, Joan Wheeler, Michael Glen, Ralph Jacobus, Douglas Blacks, Anthony C. Paul, Johanna Stucki, Alex Cole, Michael A. Sward, Kevin Burns, Scott Bukowski, James Hulbert

Description:

Kako je moguće da jedan momak , vaspitavan u ekstremno konzervativnoj porodici završi na ulici baveći se prostitucijom?
Ne možemo znati kuda nas život nosi, ali ipak donekle možemo kreirati svoj životni put. Ono što nosimo u sebi , stečeno vaspitanjem, obrazovanjem i iskustvom ipak je nešto što ostaje u nama do kraja života. Vremenom se nadograđujemo i mjenjamo se, što nas čini zrelijim i samopouzdanijim.
U ovom filmu 16-togodišnji Dieter, otima se od roditeljskih stega i odlazi svojim putem , tražeći sebe u jednom sasvim novom svijetu. U tome mu pomaže rođak Udo , takođe Njemački emigrant, koji mu na jedan njemu poseban način pokazuje kako da bude ono što osijeća i da izgradi identitet.
Diter ostaje zatečen kada mu njegov najbolji prijatelj prizna da je gay i da je zaljubljen u njega. Kada Philip ode u Minneapolis kako bi se oslobodio stega malog grada Diter ostaje kao u nezavršenoj priči u kojoj mora naći svoje mjesto.
Dieter i Udo odlaze u Minneapolis da potraže Philipa.
Vrlo lijepa priča, mada bi sama gluma mogla biti na malo višem nivou.
Film je rađen u crno-bijeloj tehnici, što mu daje neku dokumentarističku dimenziju. Lično bih više volio da je rađen i u koloru, koristeći crno-bjele sekvence tamo gdje je potrebno naglasiti prošlost.
Za film bi se moglo reći da je klasična coming out priča, prikazana na jedan dokumentaristički način.

VARIETY.COM
By DENNIS HARVEY

"The Toilers and the Wayfarers" is an engaging indie effort whose gay youth theme will interest relevant fests and, possibly, select theatrical programmers. Haphazard story and character development suggest writer-helmer Keith Froelich bit off more than he could chew with this first feature. But the B&W drama is mostly offbeat enough to avoid telepic tenor latent in its runaways-hit-big-city scenario.

Handsome Dieter (Matt Klemp) and prankster Phillip (Andrew Woodhouse) are 16 -year-old best friends bored to death in New Ulm, Minn., where German settlers' original language -- and conservative attitudes -- prevail. Wanting companionship, Dieter's ailing aunt sponsors passage abroad for a nephew from the old country. But she doesn't expect somebody like genial, good-timey Udo (Ralf Schirg), a 20-ish layabout content to drink beer and watch TV.
Chafed by parental restrictions, then mortified when Dieter rebuffs his advances, Phillip runs away to Minneapolis. Dieter, now (falsely) suspected of homosexual involvement with Udo, runs afoul of his own harshly disciplinary dad -- and begins having second thoughts about sexual exploration, too. Meanwhile, Udo's crabby auntie suddenly dies. The hapless emigre blows his inherited money on a convertible, then lets Dieter convince him they should likewise scram to the city.
In Minneapolis, the trio's reunion yields mixed results. Dieter and Phillip enter a blissful new carnal phase in their relationship, but latter has resorted to hustling, and Dieter (with juvenile authorities already in pursuit) feels pressured to do the same. Promptly robbed of remaining cash, Udo finds he can't hold a job any more than he can hold his liquor.
Pic ends on an ambiguous note for all that fails to satisfy, and the film has consistent trouble deciding on a central thread or protagonist, though focus does eventually fall on Dieter. (Adding to confused feel, all three leads provide some voiceover narration.) Pacing is perhaps too brisk, leaving numerous odd gaps. We're never certain, for instance, whether Udo is gay; awkward scene transitions often make it unclear how much time has passed, where characters are living, and so on.
As a result, tale grows more improbable as it settles into the dark side of urban survival, though Froelich doesn't hammer home any rou-tinely cautionary message. Dialogue is uneven, sometimes (as with narration) too authorial-sounding.
Despite ample flaws, pic does hold interest with its sympathetic, uncondescending view of young adults forced to mature faster than they ought to. Tech aspects are generally above average, lead performances likable if not fully supported by sometimes insightful, sometimes lax writing. German dialogue (about one-third of total) is subtitled.
Camera (B&W, 16mm), Jim Tittle; editors, Robb Harriss, Froelich; music, Chan Poling; set decoration, Merrill Stringer; costumes, Jeannie Millett, Sally Englehardt; sound, Matt Ehling; associate producers, Rob Borm, Michael Murray; line producer, Manion; assistant director, Michael Tabor; casting, Jessica Nelson. Reviewed at the Roxie Cinema, San Francisco, Dec. 8, 1995. (Also in Sydney Gay & Lesbian Mardi Gras Film Festival; Berlin Film Festival -- market.) Running time: 75 MIN.

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