13 November 2009

Eating Out: All You Can Eat (2009)

eout3Eating 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





eo3_04 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.



eo3_06 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!
eo3_14


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.


eo3_08 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 eo3_16 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.

11 November 2009

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

video

03 November 2009

Tarik El Hob (2001) aka The Road To Love


Tarik El Hob (2001)
Director: Rémi LangeScenario: Rémi Lange, Antoine ParlebasGenre: DramaCountry: FranceYear: 2001Duration: 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.
video



Visit my Gay Themed movies Site Here

02 November 2009

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.



video


See more on cinetemagay.blogspot.com

01 November 2009

Pratch

pracht

Pratch

Director: Natalie Percille
Scenario:
Genre: Erotic, Short
Country: France
Year: 2004
Duration: 4 min
Rating:

 

Description:

Da vam poželim dobro jutro! Nekako ovih dana bas i nisam nailazio na dobre gay filmove zato vam na blog stavljam jedan interesantan kratki erotski film.

Pa onako uz jutarnju kafu , ako ste sami….




27 October 2009

Splendor (1999)

splendor

Splendor (1999)

Director: Gregg Araki
Scenario: Gregg Araki, Jill Cargerman
Genre: Comedy
Country: UK, USA
Year: 1999
Duration: 93 min
Rating: 5.2/10




Actors: Kathleen Robertson, Johnathon Schaech, Matt Keeslar, Kelly Macdonald, Eric Mabius, Dan Gatto, Linda Kim, Audrey Ruttan, Nathan Bexton, Amy Stevens, Adam Carolla, Julie Millett, Jenica Bergere, Paige Dunn, Emile Hamaty





Description:

http://img2.timeinc.net/ew/img/review/991008/splendor.jpgTeenage trilogija Greg Arakija (Totally F***ed Up, The Doom Generation, and Nowhere) je već predstavljena na ovom blogu, te sa filmom Mysterious Skin (2004) i The Living End (1992) čini zaokruženu sliku Arakijevog rada.
Ovaj film se definitivno nemože svrstati u Gay Themed Movie no bez obzira na to na ovom blogu se našao zahvaljujući  "nenamjerno i ničim izazvanom homoerotičnošću " dvojice sjajnih glumaca Jonathan Schaecha i Matt Keeslara.
Veronika (Kathleen Robertson) na jednoj zabavi povodom noći vještica upoznaje Abela (Jonathan Schaech) koji od nje na jedan šarmantan način uspjeva da izmami broj telefona. Nakon toga upoznaje Zeda (Matt Keeslar) sa kojim polupijano završava u krevet. Ujutro kad se probudila šokirano je gledala u Zedovu jutarnju erekciju i čudila se sama sebi odkud ovaj lik u mom krevetu.

sple_03

Iako joj se Zed dopao ženska znatiželja joj nije dozvolila da propusti sasvim drugačijeg a opet seksipilnog Abela (Jonathan Schaech).
I tako upada u vezu sa dva muškaraca, medjusobno toliko različitih ali dopunjujućih.
Ništa neobično da Veronika nije odlučila da im sve kaže i upozna ih. I tako nastaje savršena trojka koja ko zna šta sve radi noću u krevetu. Simpatičan mi je bio poljubac između Abela i Zeda.

sple_11

Ova romantična komedija će vam zasigurno prijati nakon nedeljnog ručka, alako ne očekujete gomilu seksi scena. Toga u ovom Arakijevom filmu nema.
Mene je podsjetio na ednu davnu vezu sa jednim momkom i njegovom djevojkom. Ispočetka je ja sam bio samo njegov momak, a ona njegova djevojka. Kad bi se desilo da naš voljeni nije sa njom ili samnom družio sam se sa njom. Ispade da smo se jednima drugima dopali te je u meni probidila jak heteroseksualni nagon. I tako priča je tekla ko u filmu. Radnim danima je moja guza bila "zloupotrebljavana" od mog super momka, a vikendom sam gledao da ugrabim trenutak kako bih ga uvalio u savršenu pičkicu njegove cure.
Sve je funkcionisalo savršeno dok on nije odlučio da njoj kaže za nas. Imali su seks te subote i nakon toga je dijalog tekao ovako:

sple_08

Naš momak: - Ja i on se volimo
Ona: - I ja ga volim, a znam da on voli i mene i tebe!
Naš momak: - Ali mi se volimo i onako... znaš
Ona : Kako ... misliš ... onako
Naš momak: - Da baš tako

Pauza 5 minuta  pa onda:

ona: A ko koga ? Mislim znaš...
Naš momak laže: Mi to ne radimo, samo pušenje , poljupci i to
Ona: Moram ti priznati , on super radi i to drugo!
Naš momak: Misliš vas dvoje ste...
Ona: Mislim da se mi svi međusobno volimo! Mi smo savršena trojka!

Nakon što me je sutradan nekako osvetnički izjebao ispričao mi je da joj je rekao i kako je tekao tok razgovora!


Left to Right: Jonathan Schaech, Kathleen Robertson, and Matt Keeslar in Gregg Araki's Splendor

23 year old aspiring actress who wears more lipstick than a circus clown goes to punk club and falls in love-at-first-sight with two guys. Soon they all move in together and have three-ways every night--it's a fornicator's dream come true!. . .but the dream turns into a nightmare when the chick gets pregnant (now that's a real surprise plot twist!) and realizes her two bed mates would make less-than-ideal co-fathers. Sure, they are fun to live and fornicate with, but these guys don't even have jobs! What kind of life will her baby have ? Then the chick meets this bland but responsible guy. She doesn't love him, but he's stable and would be a good provider. So she dumps her two lovers and agrees to marry Mr. Bland-But-Dependable (now that's a real surprise plot twist!). But, guess what? Right as the chick is about to say "I do," the two lover boys crash the wedding and rescue the chick from a loveless marriage (now that's a real surprise plot twist!). They all three go back to shacking up and raising the baby (which, in a real surprise plot twist, turns out to be two babies! Twins! Imagine that! How clever!). I guess this was supposed to be some sort of screwball comedy about how complicated young people's lives can become in this so-very-post-modern-world, but. . .it's not funny (though it is boring) and the script isn't fresh (though the acting is terrible). You wonder how the mediocrity who wrote and directed this *movie* ever fooled enough people to pony up the five million or so it took to make this frisbee. . .that con job must have used up all his creative energy. *


by Scott Tobias April 19, 2002

Unburdened by the heavy nihilism that dogged his so-called "Teenage Apocalypse Trilogy" (Totally F***ed Up, The Doom Generation, and Nowhere), Gregg Araki's Splendor is his brightest, most tolerable work to date, a day-glo romantic fantasy that sweetly considers the long-term possibilities of a drunken three-way. A camp reworking of Noel Coward's bohemian farce Design For Living, the film stars Beverly Hills 90210's Kathleen Robertson as an aspiring actress and self-described "good girl" drawn to two polar  opposites at a Halloween rave: Johnathon Schaech, a bespectacled (and thus sensitive) freelance rock critic, and Matt Keeslar, a neanderthal drummer for a sub-par punk band. Robertson falls for her [sple_15[4].jpg]

competing lovers equally, but rather than choose between them, she allows both to move in and share her affections. This sort of premise would normally bring out Araki the obnoxious provocateur, but Splendor instead carries a bubbly, inconsequential tone that marks a surprising and welcome change of pace. While Araki's self-conscious dialogue still pounds with leaden irony, he continues to make great strides as an avant-garde stylist, painting the film's appealing surfaces with bold splashes of primary colors, eye-popping artificial sets, and a hypnotic art-pop sound design. Were he to invest the story with the same conviction, Splendor might have been the blissful, forward-thinking modern romance he intended. But for all his gifts, Araki is paralyzed by cool self-awareness, caught in the impossible position of trying to make this trio emotionally resonate while snickering at the Three's Company phoniness of it all. Love stories require some measure of earnestness and heart, but Araki seems to have deposited his on the beach in The Living End, and hasn't recovered it since.

15 October 2009

Tunel Russo (2008)

russo19396579 Tunel Russo (2008)

Director: Mau Couti
Scenario: Mau Couti
Genre: Short, Drama
Country: Brazil
Year: 2008
Duration: 19 min (theatrical version)
Rating:

Actors: Mau Couti, Renan Fragale, Alexandre Hulkinho, Suzana Saldanha, Rick Yates

Description:

Iako sam sit svih sranja oko torture pedera, mozda ima jos neko ko je raspoložen za priče na tu temu. Film me je podsjetio na jedan događaj u Subotici prije desetak ili više godina. U ta vremena ko i mnogi ljudi iz Srbije i Crne gore sam švercovao raznu robu iz Mađarske. Jebi ga moralo se od nečega živjeti.
Na Željezničkoj stanici sam čekao voz za Novi Sad sa punom torbom zvanoj krmača. Zamolim druga da mi pričuva stvari i odem u WC. Pišam , a pored mene policajac. Nisam odolio a da ne spustim pogled na njegovu kitu. Policajac nakon pišanja uredno zapakuje kurac , sačeka da ja završim pa mi reče: Ličnu kartu molim. Ja izvadim ličnu kartu i kažem da baš i nije neko mjesto za kontrolu. A on kaže : očito da jeste za kontrolu mog kurca i gurne me u kabinu za sranje. Sjednem na wc šolju prestravljen, a on govori da ne glumim nego da popušim kurac. Kad se raskopčao, kao uhvatim ga za kitu i naglo ga gurnem. Iskoristim priliku i pobjegnem iz wc-a. Odem kod druga sav crven i uzneveren. Pita me šta je bilo, ja reko da  je pao vodokotlić dok sam srao.
Kasnije u vozu sam vidio policajca. Prišao mi i rekao da nisam smio onako reagovati te da je sve to bila samo igra. Ako želim možemo se viđeti i popiti piće.
Nisam ga nikad više vidio, a i nevolim takve igre!

Eng.


Film about the police brutality in dealing with homosexual public demonstration of affection. A gay couple is tortured and harassed because they are kissing on the streets of Rio.
The police's assault on the gay guys culminates in tragedy.

Tunel Russo (Russian Tunnel) A film by Mau Couti. from Mau Couti on Vimeo.

13 October 2009

Boychick (2001) short movie

Boychick (2001)

Director: Glenn Gaylord
Scenario: Glenn Gaylord
Genre: Comedy, Short
Country: USA
Year: 2001
Duration: 12 min
Rating: 6.5/10

Actors: Ben Lang, Andrea La Bella, Greg Siff, Lindsey Girardot, Nic Arnzen, Alice Frank, Tara Jonas, Les Kurkendaal, Kristin McQuaid, Rene Sandoval

Description:
Jutros dok sam pio kafu pogledao sam ovaj kratki film. Slatko sam se nasmijao. Podsjetio me je na moje tinejdžerske dane. Stalno sam nešto maštao i izmišljao nemoguće priče. Moj najbolji prijatelj mi je u to vrijeme govorio da sam ko neka knjiga puna malih priča.
Boychick je kratka priča od 12-tak minuta o jednom tinejdžeru koji mašta da postane najbolji prijatelj sa pjevačicom Britney Spears. He sa njom je najbolji prijatelj, a koga želi za ljubavnika?
U mladosti se zidaju kule u vazduhu, zar ne?

Author: Havan_IronOak from NYC

Nice shy slightly out of shape Jewish boy channels his inner Britanny in fantasies about the sexiest boy in school.
The film was fun and well made. His situation was understandable. The boy he had the hots for was adorable and his mother was a hoot.
Well worth the whole 12 minutes it takes to see it.



01 October 2009

Quemar las naves (2007) aka Burn the Bridges

Quemar las naves (2007)

Director: Francisco Franco
Scenario: Francisco Franco, María Renée Prudencio
Genre: Drama
Country: Mexico
Year: 2007
Duration: 100 min
Rating: 7.4/10
Subtitle: English



Actors: Irene Azuela, Juan Carlos Barreto, Bernardo Benítez, Ricardo Blume, Diana Bracho, Pablo Bracho, Juan Costa, Alberto Estrella, Jose Carlos Fermat, Aida López, Roberto Luna, Claudette Maillé, Ángel Onésimo Nevares, Úrsula Pruneda, Jessica Segura, Ramón Valdés




Description:

Image Hosted by ImageShack.usOvih dana sam se bas bacio na posao tako da bas i nemam nesto mnogo vremena za filmove. A narednih desetak dana necu biti doma tako da će blog biti malo zapstavljen. Uostalom ima već dosta matirijala na njemu. Pretvorio se nekako u neki spisak filmova sa gay tematikom. Za linkove se i dalje morate pobrinuti na drugim blogovima i sajtovima. Imate spisak nekih meni najomiljenijih sa lijeve strane bloga pa potražite sta vam treba.


Image Hosted by ImageShack.usQuemar las naves (2007) se može svrstati u coming out priču mladog Sebastiana koji živi sa sestrom i majkom koja umire od raka. Njegova sestra Helena prinuđena da ostaje kući i brine se o majci dok on ide u strogu katoličku školu te ipak ima vremena i za izlaske sa drugovima. Sebastian osječa da ga privlače zgodni drugari, a posebno nekonvencionalni Juan sa kojim razvija jaku emocionalnu vezu koja će ga dovesti do njegovog prvog seksualnog iskustva. Na njegovu sreći ili nesreću ( zavisno od toga ko kako gleda na to) za njegovu vezu sa Juanom saznaju i njegova sestra i ostali drugovi u školi.
Već sam pominjao u blogu kako odvajanje od roditeljskih stega može dovesti do osjećaja slobode. Iako potrešen gubitkom majke,  pred Sebastianom se otvara put koji ga vodi u samostalan i nesputan život.SebastImage Hosted by ImageShack.usianova stremljenja i želje najbolje razumije sestra, koja iako je teško prihvatila njegovu homoseksualnost, zna da mora da ga pusti da otplovi svojim vodama.

Quemar las naves se nemože svrstati u jeftine filmska ostvarenja, dobra gluma puna emocija, snažna muzika, izuzetna fotografija i lijepa priča će vas zasigurno prikovati uz ekran.

Mene je podsjetio na jednog druga koji je stalno bježao od kuće. Jedno vrijeme je stalno dolazio kod mene dok su moji bili na poslu pa smo se stalno zavlačili u jedan veliki plakar ili u podrumu zgrade u kojemu smo eksperimentisali sve ono što smo gledali u tada teško dostupnim porno časopisima. To je trajalo jedno dvije godine dok nije došlo vrijeme da svako nastavi svojim putem.


VARIETY.COM
By ROBERT KOEHLER
Image Hosted by ImageShack.usA son, a daughter and their dying mother are caught between desire, death and yearnings for the future in the remarkably pungent "Burn the Bridges." Theater-trained helmer and co-writer Francisco Franco makes the leap into features with striking confidence, coming up with one of the few superior dramas in recent Mexican filmmaking. Top prizes nabbed at Morelia fest set up the pic for a prestigious local profile, which could translate into fair B.O. on its April 4 release, while global fest interest should be fast and furious.
Unlike several recent family-based Mexican films which took risks with high-wire strategies (from the lassitude of "Turtle Family" to the hyper-strained absurdities of "Bad Habits"), "Burn the Bridges" passes every dramatic test it sets up, pulling off fine surprises when things could have gone terribly south.
[qln_010[4].jpg] Siblings Helena (Irene Azuela) and Sebastian (Angel Onesimo Nevarez) develop the hots for each other while caring for their dying, cancer-ridden mom, former pop singer Eugenia (Claudette Maille). Add in the family's snooping maid Chaya (Aida Lopez); the awkward homoerotic impulses Sebastian feels for the new boy at school, Juan (Bernardo Benitez); and the familiar tropes of a sprawling bourgeois manse on the edge of decay and the oppressive atmosphere of Sebastian's Catholic-run school, and the film would seem awash in cliches and narrative minefields.
Instead, Franco and screenwriter Maria Renee Prudencio find a groove early on that keeps the film hopping with the unexpected, hinging everything on the volatile emotions of a pair of teens on the precipice of major life changes. A fascinating tension results from how 19-year-old Helena, the eldest, qln_005 must stay at home, while Sebastian, who's still in school, is free to roam and possibly connect with a companion -- even a potentially dangerous character like Juan. Helena stews in the old house (rendered as a perfect place for eavesdropping by Lizette Ponce's ingenious production design) while he plays, and hidden jealousies between the pair explode in the pic's second half, after mom dies and the fate of the house is unsure.
At this point, "Burn the Bridges" taps into a new energy source, ushering in a fresh set of problems involving rich kid Ismael (Ramon Valdes) -- who also has repressed desires for Sebastian -- and young Aurora (Jessica Segura) -- who rents a room in the house.
Though it never pushes its tone toward overt black comedy, pic carries strong reverberations from the earliest and latest films of Marco Bellocchio -- the wild nature of family units, the powerful position held by the youngest male and the urge for freedom in a heavy Catholic atmosphere, all captured with vibrant and brawny cinematic technique.
Franco elicits amazing perfs from his generally young cast, with Azuela and Nevarez vividly capturing teen dizziness, creative impulses and sexual indecisiveness. Benitez, Valdes and Segura keep the film operating on a giddy and highly engaging level.
Lenser Alejandro Giacoman's subdued use of color is just one of the film's subtle strokes. Locations in the lovely northern burg of Zacatecas are highly original and refreshing.

 

30 September 2009

Fortune and Men's Eyes (1971)

image Fortune and Men's Eyes (1971)

Director: Harvey Hart
Scenario: John Herbert
Genre: Drama
Country: Canada, USA
Year: 1971
Duration: 102 min
Rating: 6.5/10

Actors: Wendell Burton, Michael Greer, Zooey Hall, Danny Freedman, Larry Perkins, James Barron, Lázaro Pérez, Jon Granik, Tom Harvey, Hugh Webster, Kirk McColl, Vance Davis, Robert Goodier, Cathy Wiehl, Georges Allard

Description:

Malo reposta nije na odmet. Uvijek se nešto može dodati ili bar urediti opis filma. Iako je ovaj film star preko 20 godina, po mom mišljenju bolji je od mnogih novijih ostvarenja.
Tema je zatvor. Prava pederska tema, prepuna silovanja , i svega onoga sto se vrti u maštama mnogih gay ljudi.U filmu su ubačeni svi već vidjeni zatvorsko - pederski stereotipi: silovanja, brutalnost, nasilje, dežurne zatvorske kurve, policajci, rasni i ostali zatvorenici. Treba imati u vidu vrijeme kada je film snimljen i sve ono što u njemu mozete vidjeti je bilo dovoljno da ga mnoge drzave stave na x listama i onima zabranjeno za mladje od 18 godina. Danas bi jedva dobio oznaku zabranjen za mlađe od 15 god.
Posebno me je oduševila Queenie, travestit koji je osudjen na doživotni "Švedski sto" :)
Smitty je str8 lik , osuđen na 6 godina i nakon što ga njegov cimer Rocky spasi od kolektivne raspaljotke (čitaj redaljke) postaje njegova "djevojka" Trebam li vam reći da je prije toga propisno isprebijan pa izjeban. Rocky ga nije štedio! I tako sve dok ga draga Queenie nije naučila kako treba da se ponaša i šta treba da radi.

Poenta je kako se u zatvoru postaje od str8 "poštenog" momka peder. E kada bi još zaista tako bilo, trebalo bi sve str8 momke otjerati na prevaspitanje u zatvor.
Šalim se, ali nije fer da vam ispričam cjeli film.

Onako moja ocjena je 5/10.
Pa ako znate dobro engleski jezik i raspoloženi ste da ubijete 120 minuta na ovu temu eto vam filma. Al ne očekujte previše golotinje. Toga ima samo u tragovima.





From FilmFanatic.org

Fortune and Men’s Eyes (the odd title is taken from a Shakespeare sonnet) is a brave yet ultimately flawed depiction of male prison life. More a theatrical fable than a realistic exposé, Fortune depicts a nightmarish milieu where sex is the primary currency, guards uniformly turn a blind eye to egregious sexual abuse, and inmates are forced to choose their sexual “position” in a rigid hierarchy. In one particularly disturbing scene (which predates Deliverance), Mona (Freedman) is gang-raped during a meal — and while everyone in the room is aware of what’s happening, absolutely nothing is done to stop the situation. Instead, Rocky (Hall) turns the event into a chaotic free-for-all, pouring buckets of water gleefully from the balcony while incongruously cheerful music starts to play on the soundtrack; again, the guards do nothing. It’s a baffling scene to be sure.

Equally frustrating is the characterization of Rocky, who plays a pivotal role in the film: while Hall gives a decent performance, his character is so poorly written that it’s hard to understand his motivations. He could perhaps be seen as psychopathic in his vacillation between friendship with Burton and bullying domination, but this is never made clear. On the other hand, while some have argued that a character like Queenie (Greer gives a wonderfully vibrant performance) would never be able to hold such a high position in a male-dominated prison, I disagree: in an isolated world where sex is everything, a brash, self-confident man who willingly takes on the role of a woman (and flaunts his sexuality) may very well be able to thrive




More about movie: Cinetemagay

29 September 2009

Voleurs de chevaux (2007) aka In the Arms of My Enemy

http://lucas4you.files.wordpress.com/2008/12/arms-of-enemy.jpg?w=357&h=498Voleurs de chevaux (2007) aka In the Arms of My Enemy


Director: Micha Wald
Scenario: Micha Wald
Genre: Drama
Country: France, Belgium, Canada
Year: 2007
Duration: 85 min
Rating: 6.5/10

Subtitles: English, Portuguese, Spanish, Dutch, Greek,

Actors: Grégoire Colin, Jean-Luc Couchard, François-René Dupont, Adrien Jolivet, Grégoire Leprince-Ringuet, Corentin Lobet, Thomas Salsmann, Igor Skreblin, Mylčne St-Sauveur








Description:


ht_034Nekako sam se ovih dana i previše naslušao raznih rasprava o osnovnim ljudskim pravima kao što su pravo na različitost, pravo na život itd. Sve to spada u današnje civilizacijske tekovine, a kako je to izgledalo u prošlosti možemo vidjeti preko mnogobrojnih filmova, knjiga itd
U Srbiji i dan danas pojam Kozaka je nešto sveto. Naprosto ruski kozaci su časni borci za pravdu i tačka. Nema rasprave o tome.

Skoro niko nezna istorijat nastanka kozaka i šta su oni u jednom istorijskom trenutku predstavljali. Ko klinac sam maštao kako sa ostalim kozacima jašem nekog konja kroz ruska bespuća, a kasnije su mi bili omiljena masturbatorska tema!
Ovaj film se dobro potrudio da mi razbije sve te fantazije. Kozaci su bili borci za odrbranu vjere, crkve i države i pri tome njihova tolerantnost je bila ravna nuli. Nevjernike su ubijali i pljačkali bez obzira da li se radilo o ženama, dijeci ili muškarcima.
Sva sreća ovaj film se toga ne dotiče inače se nebi našao na ovom blogu.
Film nam priča priču o bratskoj ljubavi nastala u nužnoj simbiozi koja brači onogućava da prežive u siromašnom ruskom okruženju.
[ht_012[3].jpg]Jakub (Adrien Jolivet) i Vladimir (Grégoire-Leprince Ringuet) su dva brata, koja lutaju po selima, prseći i radeći za hranu kako bi preživjeli. U jednom selu nailaze na Kozake koji traže nove regrute, Jakuba je odmah privukla njihova ponuda jer bi im to osiguralo toplu odjeću i hranu. Mlađi i više krhak Vladimir je skeptičan, ali u svemu prati brata. Ubrzo se nađu u sadističko ustrojenom kozačkom logoru gdje je Jakub dokazuje svoju vještinu kao konjanik, a Vladimir biva brutalno silovan od strane ostalih regruta. Prisiljen braniti brata, Jakub sa Vladimirom biva zatvoren u neku smrdljivu rupetinu, al na kraju ipak uspjevaju položiti kozačku zakletvu. Prvo kozačko krštenje im je kada sudjeluju u jednom napadu na neko selo u kojemu nikoga ne ostavljaju živog, uključujući i žene i dijecu.
Sa druge strane kozačke granice,( film ne ne precizira gdje je to), Roman (Grégoire Colin) i njegov mlađi brat Ilija (François-René Dupont) žive kao konjokradice. Roman je veliki tvrd momak, a mnogo mlađi i hromi Elias, sa posebnim nemuštim darom prema konjima, treba stalnu zaštitu. Žive u nekom jedva nastanjenom krajoliko i sigurni su sve do dana kada su ukrali Jakubovog i Vladimirovog konja, pri čemu ubijaju Vladimira. Nadalje film nam priča priču o osveti, borbi, i upornosti do samouništenja.
Ono što mi je nejasno zašto se film reklamira kao neki gay epsko homoerotični film, kada to ustvari nije. Ničega tu gay tematski nema. Uz toliku pompu po gay filmskim festivalima i reklamom koja ne odgovara samoj suštini filma zasigurno će odvratiti publiku kao što su pripadnici OBRAZA i drugih fašistički zabludelih gledatelja.
Šalu na stranu film je strastven al ne u ljubavi muškarca prema muškarcu nego čistoj bratskoj neiskvarenoj vezi. Nije loš za pogledati, ali ne očekujte neku gay epsku priču. Jedino iz tog razloga se našao na ovom blogu kao not gay themed movie!

IMDB

A Study of Filial Devotion and Survival, 28 September 2008
10/10
Author: gradyharp from United States

Micha Wald has created a strong masculine drama as writer and director of 'VOLEURS DE CHEVAUX' (IN THE ARMS OF MY ENEMY), a film with a grand sweeping view of nineteenth century life in the region of Russia and has accomplished this with a very small budget, a cast a both unknown and new actors, and a production crew sensitive to place and atmosphere. For some reason the marketing of this film has been directed to a particular audience instead of emphasizing the broad spectrum of those who love epic dramas. It deserves very wide attention, as it is an excellent meditation on the rigors of filial love among the destitute of the period.
[ht_005[3].jpg]Part I: Him: Jakub (Adrien Jolivet) is the diminutive but strong older brother of Vladimir (Grégoire Leprince-Ringuet), a gentle and handsome young lad who depends on Jakub's 'parenting'. The two destitute brothers fend for themselves, dressed in rags, begging for food and work, until they encounter a group of soldiers who are enlisting young men to be Cossacks. Jakub sees the opportunity for food and shelter and 'belonging' and encourages Vladimir to join him in enlisting. The rigors of 'boot camp' drive Jakub to dangerous extremes and result in his being punished and imprisoned for varying periods of time while he still masters fighting techniques and equestrian skills: the more defenseless Vladimir falls victim to abuses at the hands of his fellow recruits. When Jakub discovers that Vladimir has been raped, he resorts to serious fighting and the two brothers are placed in a solitary confinement box. When their training period is over, the boys witness the brutality of the Cossacks as they slaughter innocent families, and this is the breaking point that drives them to desertion. They escape the Cossacks on stolen horses, but while bathing in a river, their horses are stolen.
[ht_016[3].jpg]Part II: Them: The horse thieves are two other impoverished brothers with a strong parallel - Roman (Grégoire Colin) is the stronger, pugilistic older brother who takes care of his younger brother Elias (François-René Dupont), a gentle lad crippled in youth by a goring from a ram but who maintains an ability to communicate with animals. They live humbly in a forest shack and an underground hideaway, and when they make their rare excursions into the village tavern, Roman jealously guards the more fragile Elias, threatening even the girl Virina (Mylène St-Sauveur) with whom Elias is infatuated. Using a combination of their skills, Roman and Elias steal the horses of Jakub and Vladimir, and the trail of vengeance begins.
[ht_014[3].jpg]Part III: Us: Both sets of brothers are needy and their destinies collide due to the theft of horses. Tragedies mount, both sets of brothers intensify their filial bond of compassion, but the older brothers fight to the death of one and in the end one of the brothers provides succor to the survivor of the other set of brothers and the ending leaves the audience to guess the future altered by violence and need.


http://www.filmbuffonline.com/Reviews/Images/InTheArmsOfMyEnemy.jpgMicha Wald draws powerful performances from his young cast of beautiful actors and with a minimum of dialogue ( in French with English subtitles) he creates wholly credible characters about whom we care very much. The cinematography by Jean-Paul de Zaetijd is superb and the haunting musical score by Jóhann Jóhannsson, Jeff Mercelis and Stephan Micus is rich in capturing the harmonies of the music of the period and the location. In all, this is a visually stunning film and a story that is subtle and touching and impressively sophisticated in the manner in which it is told. Highly recommended. Grady Harp

1
Visit my New Site:: http://orvel.me