Laurence Anyways (2012)

Laurence Anyways (2012)

Director: Xavier Dolan
Writer: Xavier Dolan 
Genre: Drama, Romance 
Country: Canada, France 
Language: French ( with eng. and spanish subs) 
Duration: 168 min 
Year: 2012

Stars: Melvil Poupaud, Suzanne Clément and Nathalie Baye





Xavier Dolan, Anyways!, 4 December 2012

Author: Zahraa Ahmed from Saudi ( IMDB)

 
Fist of all, I should tell ya that I never been excited to watch a movie for a really long time; you know that excitement when you watch the trailer over 10 times in a row. yeah, I got excited this much to watch Laurence Anyways. and as a Xavier Dolan's huge fan that makes me know for sure that this movie is gonna be a pure art. and I don't even really care that much about directors. but DAMN! Xavier Dolan is the perfect man. No, I really mean it. he's gorgeous and talented in so many ways. Although all of the films he directs are about homosexuality, but what the heck! sometimes I hesitate to recommend any of his films to people I know cause I fear they might be narrow minded about all of the homosexuality stuff. Personally, I wouldn't mind watching a Xavier Dolan's film everyday and I'd still enjoy it as if it was the first time I watch it. I killed my mother, heartbeats, and now laurence anyways.

Laurence Anyways is almost 3hrs long. I thought I'd be bored. but somehow, something kept me watching. maybe it's wanting to know how the story ends. or maybe it's the great soundtrack, or the scenes that feed your soul visually. I mean really, why bother going to a photo gallery or a concert or whatsoever when you can simply watch Laurence Anyways or any film of Dolan's, and you'll find everything you love combined together beautifully. maybe I'm just exaggerating but that's because I'm this amazed.

At first, I thought Laurence and his girlfriend weren't' good looking enough, but anyone who watches this film will absolutely fall in love with every single character in the film. and somehow you'll find them extremely beautiful because you just feel their passion and stuff.

When I posted on twitter that I'm so excited to watch it. my friend replied saying, "it's a bold movie." well, I don't know how dirty films like the hangover are okay to watch and a masterpiece like this is "bold"! One thing I noticed about Xavier's Dolan films, is that he tries not to show us nude scenes, cause it ain't pretty. nobody wants to see butts or whatsoever, well, maybe perverts want to, but that's not the point. that is to say, even sex scenes are somehow beautiful and amazing, like the sex scene in 'I killed my mother' with all the painting and the sad sex desperate sex scenes in 'heartbeats'. you can clearly understand what Dolan is implying. In Laurence Anyways, Dolan portrays the relationship between Laurence and his girlfriend as a happy couple who are madly in love with each other, before they gradually collapse. What I'm truing to say here is that Dolan never fails at impressing his audience.

The soundtrack was painfully amazing, as always. the film stats with a song by 'fever ray' which made me realize that Dolan is a fan of this band. yeah? you remember the scene in the woods in 'heartbeats'? No? Okay. I swear if I had to steal one thing from Xavie Dolan it'd be his ipod or iphone or whatsoever. the man has an amazing taste in music.

When I done watching this film, I realized that 3 hours weren't enough. I wouldn't mind if it was 10 hours long or a series with a thousand seasons. it's just pure perfection. you know when you watch a perfect film that is so perfect to the extent that you wouldn't mind if it ends after only 5 minutes or in the middle of it because it's so perfect, and whatever the end is it'd still be great and perfect. yeah, Laurence Anyways is one of those films. and I'm still happy and impressed with the ending scene. the song was oh-my-god amazing. it's like it came into my soul and said hi and settled there. I can never get bored watching the ending scene; so simple yet perfect.

And before I forget, I love the almost 5 seconds Xavier appeared in the party scene. yeah keep it up babes.

In short, Laurence Anyways is 3 hours long, BUT, it's 3 hours of love, joy, regrets, tears, emotions, passion, and XAVIER DOLAN'S PERFECTION. Go watch it! and if you watch it and hate it then I'll hate you back.

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Romeos (2011)

Romeos (2011)

Director: Sabine Bernardi
Writer: Sabine Bernardi (screenplay)
Genre: Drama
Country: Germany
Year: 2011
Duration:

Stars: Rick Okon, Maximilian Befort and Liv Lisa Fries

 

 

 

 

Malo je čudan ovaj film. Bar za mene. Gledao sam dosta filmova u kojima muškarci žele da budu žene , ali obratno ne. A i nije mi jasno kako ženi mogu da ugrade penis i da li to funkcioniše. Malo mi je sve to teško shvatiti, ali i to je dio ljudske prirode.
Trangenderi ( ne znam naziv na našem jeziku za to) su ljudi koji su pogrešno rođeni u tjelu suprotnog pola. U ovom filmu Lucas je rođen kao ženska osoba (Miriam) ali po svojoj prirodu je muško.
E sad meni je malo čudno to što se Lukas zaljubio (la) u Fabia. Ispada znači da je Lukas muškarac gay, u tjelu ženske osobe. Uh kakva zbrka.
Film je zaista dobro odrađen i preporučujem da ga pogledate. Definitivno nije dosadan i ima zanimljjivu priču.
Obično nešto napišem iz mog ličnog života vezano za neki film. U ovom slučaju nemam ništa da napišem u tom smjeru. Nikakvih životnih iskustava sa trangenderima nemam.

Battleship Pretension
Often when a film tells a tale from the point of view of a persecuted or minority (or both) point of view, it falls into a couple of traps. The first is being more concerned with appealing to its directly targeted audience than with making a good film. For example, this is why Tyler Perry’s films are so beloved by the people at whom they’re aimed and by almost no one else. The second, much trickier trap, is becoming consumed by the socio-political bedrock of its premise and becoming an “issue” film more than anything else. This is slippery territory because the film is usually in some way worthwhile on the strength of its subject alone but the manner in which the message is delivered can make all the difference. Sabine Bernardi’s Romeos keeps its wits and makes smart choices at most turns. It is an issue film secondarily. That its lesson takes a back seat to the characters and their story makes it all the more powerful.

Romeos tells the story of Lukas, a young German man who has relocated to the city of Cologne as a part of some German civil service thing that I didn’t fully understand but which isn’t the point anyway. There he meets and becomes infatuated with a man named Fabio (Maximilian Befort) and the two begin a tumultuous and often very passionate relationship. The hitch comes when Fabio realizes what the film has clued us in to since the beginning. Namely, the fact that Lukas was once called Miriam and is a female to male (FTM) transgendered man.

Rick Okon plays Lukas and he is Bernardi’s biggest asset, despite her already impressive talents. Though convincingly a man (because he is), he has just enough softness to his features to allow belief that he was born a woman. Given that this look would have to be a necessity, it is a terrific stroke of luck for Bernardi and for the viewer that Okon also turns out to be such a skilled actor. The fact that he is both internally and externally uncomfortable almost all the time is relayed by him in ways that are never overt but also impossible to miss. The way he sits, the way he moves and the way he talks are all symptoms of his desire not to be noticed most of the time.

 

Where Romeos really stakes its claim of individuality is when it decides, rightly, to explore Lukas’ flaws. It doesn’t do so periodically or directly. Instead, the unlikable aspects of him are a constant undercurrent that occasionally bubbles over. The film’s chief offering about the nature of someone like Lukas is to observe that feeling alone in the world, even when that feeling is justified, can turn a person into a narcissist. Those who do care about Lukas, such as his friend Ine (Liv Lisa Fries), are not involved in a mutually beneficial relationship. Since Lukas perceives his problems to be bigger than Ine’s, he gives no thought to her more mundane yet important personal struggles. Instead, he is constantly asking to be the subject of the conversation. Ine’s realization of this and subsequent backlash provide some of the film’s central conflicts. Lukas behaving this way and still remaining a sympathetic character is to the credit of both Okon the screenplay (also by Bernardi).

Stylistically, Bernardi employs a general naturalism that is not gritty or hard-bitten but is instead loose. It captures the feeling of being out of school, flush with freedom but still too young to have many responsibilities. These people have their lives before them and they are simultaneously exhilarated and terrified by that. It’s only when the film attempts more lush, cinematic gestures that it tips its hand. For instance, a scene wherein Lukas is watching a transvestite at karaoke and the lighting changes theatrically and we focus in visually and aurally on the singer does not contain the skill or commitment to make such a sequence work. It instead feels amateurish, borrowed from better films like David Lynch’s Mulholland Dr.

Lukas’ story and the stories of transgendered people all over the world are worth your attention. Theirs is a minority class that is marginalized even by the minority class of which it is a subset. For that reason alone, Romeos is worth watching. Yet it’s also worth watching for the simple but immeasurable reason that it is a good film. That’s about the best thing one can say for it.

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Cut Sleeve Boys (2006)

Cut Sleeve Boys (2006)

 

Director: Ray Yeung
Scenario: Ray Yeung
Genre: Comedy, Romance
Country: UK, Hong Kong
Year: 2006
Duration: 86 min
Rating: 6.1/10

Actors: Chowee Leow, Steven Lim, Gareth Rhys Davis, Neil Collie, John 'Ebon-knee' Campbell, Mark Hampton, Paul Cox, David Cary, David Tse, Michelle Lee, Shirley Chantrell, Paul Courtenay Hyu, David Leigh, Mark Wakeling, James Bridgeman

Description:

Ovaj prilicno stupidno napravljen film jedva da bi ubacio na englesku verziju bloga da nije i pored lošeg scenarija i par redateljskih reklo bi se amaterskih grešaka na neki način ipak poučan za današnju Cut and Out omladinu koja se posvetila životnoj šetnji iz jednog u drugi krevet. Na stranu ću za sada staviti potrebu mladih gay-ovaca za seksualnim pražnjenjem. Predpstaviću i da svi danas koriste kondome bez razmišljanja o tome da li to treba ili ne. Ono što mene lično čudi je to da kada na kraju zatvore krug i teško mogu da pronađu nečiji krevet u koji nisu uskočili i dalje grozničavo traže nekog novog "tipa"

Maldost ludost, reklo bi se! Komično je to što svi na kraju traže nekog "normalnog" momka sa kojim bi podjelili nešto više od dupeta ili one stvari, a u priči se neskriveno podrugivaju onima koji se ponašaju jednako kao i oni! Pederska posla , zar ne!
Jednom sam sa jednim drugom otišao na neku novosadsku gay žurku! U ta doba ni ja nisam bio u fazonu druženja sa gay ljudima, a taj moj drug pogotovo. Jedva da je imao poneko seksualno iskustvo sa muškarcem. Na tu žurku nas je doveo jedan feminizirani gay lik. Naravno kad smo se tamo pojavili svi su bacili oko na nas kao na " novo, neisprobano svježe meso" Uz gomilu pića koje smo ispili u kratkkom roku kako bi razbili tremu brzo smo se opustili i dopuštali sebi stvari koje nikad prije nismo! Ljubili se sa nekim likovima po ćoškovima kafića, prepipkavali gayovce gdje smo god stigli i smijali se ko budale.
Kada je žurka skoro završila krenemo da izađemo , a onaj gay koji nas je i doveo na tu žurku ovom mom drugu dobaci: "Droljo jedna"!  Izašli smo napolje vrišteći od smjeha!
Definitivno smo znali da to ipak nije svijet kojemu pripadamo. Ja sam i dalje nastavio da se upuštam u veze sa macho oženjenim likovima, a moj drug je sebe pronašao po novosadskim parkovima u koje bi se neprimjetno uvukao, uradio što je namjerio i odatle pobjegao glavom bez obzira u krevet kod svoje žene!

Nego udaljih se od filma. Dva azijata koja žive u Londonu i koja se trude da budu IN ili kako bi jedan od njih rekao šik, već su se umorila od londonskih klubova i sexa na neviđeno. Međutim način života kojim žive ne dopušta ima da u šumi vide drveće. Jedan traži ljubav, a ignoriše momka koji je tu odmah do njega i izjavljuje mu ljubav, samo zato jer je "seljak", a drugi luta tražeći svoj identitet među transeksualcima.

Iako je početak filma trapavo napravljen, kasnije može postati interesantan.

PFS Film Review
Cut Sleeve Boys

Cut Sleeve BoysCut Sleeve Boys, directed by Ray Yeung, begins with a title explaining the origin of the term “cut sleeve boys” from the time when a bisexual emperor wanted to get out of bed without disturbing his cuddling male concubine, so he cut the sleeve of the latter’s garment in order to rise from bed, leaving his boyfriend still asleep. The term, in other words, is equivalent to “gay.” The first scenes portray the death of a good-looking Chinese guy, Gavin Chan (played by Mark Hampton), presumably from ejaculating immediately after ingesting amyl nitrate, and the funeral, where the two principal characters are introduced. Ashley Wang (played by Chowee Leow) and Mel Shu (played by Steven Lim) are good-looking twentysomething Chinese residents of London afflicted with “bitchy queen” attitudes because they have not found love, having moved to England from Asia to advance their careers as well as to find fulfillment in the arms of British gays. Ashley regularly swishes and, at home, wears feminine clothes. Mel has built a wall around himself so that he can only have tricks, not love, and reverts to a catty demeanor while with Ashley. Both are obsessed with what they wear and what they look like; their personalities are hollow. One day, Todd Charrington (played by Gareth Rhys Davis) knocks on Mel’s door, having left home in Wales. Mel had promised to put him up if he ever left home, so Todd expects to be greeted accordingly. However, Mel is quite cold to him, though he relents and allows Todd to stay a few days. Meanwhile, Mel insists on the virtues of an open relationship, but fails to attract anyone at the gym, while Todd gets attention, goes out with a muscular guy, and returns to lie that there was an orgy instead of one-to-one sex, believing that his lie will ease any pain for Mel. In a sex scene, Mel blindfolds Todd, who has never experienced kinky sex before; after Mel holds his arms behind his back, he orders him to beg to be fucked, and Todd complies.

However, Mel loses interest before proceeding when his telephone rings. Ashley is calling and requests help to crossdress. Todd gets up, disappointed. Mel even gets Todd a job and then tells him that the time has come to move out. Todd has a crush on Mel, but the latter’s brusque demeanor has deterred him from revealing his emotions until he is ordered out. and eventually leaves after declaring his love, which Mel rejects. Ashley, having decided to reinvent himself, goes to a bar for “trannies” and their admirers, meets a war vet, and has a wonderful time, but is reluctant to go forward with the relationship, fearing that he could not revert to his masculine identity most of the time. Mel, now having rebuffed an admirer, decides to reinvent himself as well, trying to botox wrinkles that are scarcely noticeable. Earlier, Mel has decried the fact that he is doomed to attract only “rice queens,” but he now he invites Todd, now corrupted by life amid the fashionable gay life of London, to a lunch. He evidently hopes to rekindle Todd’s love, since Ashley appears to be headed for a stable, happy relationship that will leave him friendless. The film ends with Ashley and Todd getting what filmviewers will expect that they deserve. Credits indicate the future states of affairs of the various characters one year hence, albeit superficially. The commentary on how the Londoners cope with gay life is doubtless intended to teach many lessons. One obvious observation is that all the characters are so interested in how they look and feel that they do not realize how empty headed they are; apart from their narcissistic hedonism, they have no purpose in life, no cause to advance, no connection with the world beyond themselves. The pastor who presides at the initial memorial service is the only one who appears to have a broader vision, but he abandons the ministry after receiving ?500,000 in the dead man’s will and instead partakes of gay life without wearing the cloth any more. MH

Dupe od mramora (1995) AKA Marble ass

Dupe od mramora (1995) AKA Marble ass


Žao mi je što za ovaj film ne mogu da nadjem titl na engleskom jeziku! Bilo bi dobro da čitaoci ovog bloga koji nisu sa prostora bivše Jugoslavije mogu da ga pogledaju, mada nisam siguran koliko bi bili u stanju da shvate balkanski mentalitet 90-tih godina pošto ga nija dobro ne razumijem!
Dno dna pederskog dijela Beograda, ograničen ratnim pustošenjem, izgledao je baš kao na ovom filmu. Tada ni tanvestiti bisu bili lijepi!
Međutim i pored svega toga ovaj film ima dušu. U svom jadu i bijedi Merlynka nam pokazuje da možemo zadržati "ono malo duše" bez obzira šta nas snašlo u životu. Radeći kao prostitutka na Beogradskim ulicama , spašava poštene žene i djevojke od isfrustriranih nasilnika i zarađuje za život , sanjajući o bogastvu i sjaju koji je vidjela samo u Hollywoodskim filmovima je uobičajen profil prostitutki koji nije zaobišao ni Merlynku. Živeći sa Sanelom, prijateljicom i koleginicom na marginama društva pokušava da opstane i ostane Dama u zemlji čuda u kojoj je jedino čudo preživjeti i dočekati sutrašnji dan!
S druge strane zgodan, lijep al poremećeni nasilnik i ubica Johny sanja o novcu koji će zaraditi prevarom i nožem. Psihički izopačen , povratnik sa ratišta, ogrezao u krvi jedino seksualno zadovoljstvo može da postigne sa ženom koja ga onako sirovog može potčiniti. Nenad Racković ga je odlično odglumio. Šteta što ima mali kurac inače bi bio pravi frajer! Završava život onako kako ga je i živio, po zakonu nasilja i noža. Njegov profil je prilično čest na prostorima EX YU, a prepoznaćete ga u liku koji bi vam za rođendan poklonio neki dobar nož ili utoku, a tokom seksa tražio da ga izjebete do srži, davite , udarate i ponižavate. Ako niste dovoljno jaki za to postaćete njegova žrtva!


Merlynku i Sanelu u filmu igraju prostitutke koje su za film pokupljene sa ulice. Tako da im je gluma u ovom filmu predstavljala kopiju njihovih stvarnih života u kojima su obadvije nastradale nekoliko godina nakon premijere ovog filma!

Merlynka je ostala upamćena po izjavi:

"Evo ja radim u ul. Gavrila Principa. Šta je on doneo Srbima? Rat, glad, nevolje...
A ja? Ja sam hiljade i hiljade Srba usrećila - ova ulica treba da se zove po meni!"



Year: 1995
Genre: Drama, War
Director: Želimir Žilnik
Duration: 86 min
Country Federal Republic of Yugoslavia
Actors: Aleksandar Brujić, Vjeran Miladinović, Milja Milenković, Nenad Milenković, Nenad Racković, Lidija Stevanovic, Miodrag Susa, Miljen Vojnovic, Gordan Zabaljac, Suzana Zlatanovic

This film about drag queens in Beograd won a special Teddy prize at the Berlin festival in 1995. The heroines are 2 transvestite prostitutes, and they're much more together than their old boyfriend Johnny who returns from the war and screws everything up. Imagine a politicized Priscilla.

The aging (37) Merlin (Marylin? -- she's blonde) teaches Sanela everything she knows. Sanela "marries" a body-builder, Johnny ends up dead. There's also a wonderful scene in which Merlin tries to teach a "real" woman how to turn tricks.


Merlyn has been pacifying the Balkans, turning tricks with countless, more or less Serbian guys every year. Merlyn is a lighting rod sheltering Belgrade, calming violent nighthawks, swanky big spenders, miserable loners and horny young studs, taking on the charge that would otherwise befall little girls, unprotected mothers and helpless old women. Combined with guns, this unbridled energy would eventually lead to bloodshed. Acting as a mighty Djerdap dam and the Wailing Wall at the same time, Merlyn cools the boiling blood of violent Dinarides and enriches it with love. Johnny comes home to Belgrade, from the war. His motives are apparently similar, he also wants to cool the boiling blod, but he does it by letting it through the holes in the human body, which he makes with bullets or knives. This film is a treatise on the different methods of resolving conflicts, resorted to by Marlyn and Johnny. Festivals in Berlin 95, Moscow 95, Montreal, Sao Paolo, Troia, Warszawa, Kyiv, Hamburg, Ljubljana

Tiresia (2003)

Tiresia (2003)

Po Grčkoj mitologiji Tiresias je bio slijepi prorok od Thebe, poznat po tome što je u isto vrijeme bio i muško i žensko! Kako i zašto je oslijepio ima mnogo priča, a jedna od njih je da ga je Zeus oslijepio jer je smrtnicima pričao budućnost. Druga priča je da je boginja Athena prekrila oči kada ga je vidjela nagog u šumi i bila iznenađena kada je vidjela muško i žensko tijelo spojeno u jedno!


U ovom filmu Tiresia je tranvestit koji uzima ženske hormone i bavi se prostitucijom. Emigrirao iz Brasila u Francusku i kurvao se da preživi. Terranova je njen obožavalac, i otima je iz Bolonjeske šume u Parisu. Zarobljenu je drži u jednoj napuštenoj kući. Međutim kako vrijeme prolazi, a Tiresia ne uzima hormone, njegov san se pretvara u košmar. Tiresia postaje muško. Terranova zatim oslijepljuje Tiresiu i ostavlja je u šumi , gdje je pronalazi nijema katolkinja i odvodi kod sebe na selo. Tiresia, sada već muško otkriva u sebi moć da proriče budućnost. Terranova kao sveštenik ga posjećuje. Ono što je učinio Tiresiji ga proganja i muči...

Da ne nastavljam dalje prepričavanje filma. Tiresia u ovoj priči nam otkriva sebe, svoj život i kako je postao/la to što jeste. Jednostavno prihvaćajuči svoj život onakav kakav jeste, govoreći da on/ona nije to sama birala.




Da ne nastavljam dalje i filozofiram bespotrebno, bolje pogledajte film. Nije najbolje kvalitete ali je ipak gledljiv!

Year: 2003
Genre: Drama
Director: Bertrand Bonello
Duration: 116 min (Cannes Film Festival)
Country France, Canada

Actors: Laurent Lucas, Clara Choveaux, Thiago Telčs, Célia Catalifo, Lou Castel, Alex Descas, Fred Ulysse, Stella, Marcelo Novais Teles, Olivier Torres, Isabelle Ungaro, Abel Nataf

A Brazilian transsexual prostitute living in Paris gets abducted and imprisoned by a mysterious loner, who's obsessed by his captive's beauty. It's an interesting enough premise, but sadly writer/director Bertrand Bonello's third feature turns out to be an irritatingly ponderous reworking of the Greek myth of the soothsaying Tiresia. In a puzzling casting decision Laurent Lucas is given a pair of roles - that of kidnapper and parish priest - whilst the character of Tiresia is incarnated by Clara Choveaux and Thiago Telcs.

Tiresia is split into two distinct halves, both of which unfold at the same funereal pace and end in tragedy. In the first Terranova (Lucas) abducts Tiresia (Choveaux) from the Bois de Boulogne only to see the streetwalker's beauty wither without 'her' regular hormone pills. Later the story switches to the countryside, where the now blinded Tiresia (played in this section by Teles) is cared for by a devout Catholic girl Anna (Célia Catalifo), who is angelically beautiful and conveniently mute. And it's in this rural milieu that Tiresia discovers 'his' own premonitory gifts.

"SEEMS TO BE STRIVING FOR PROFUNDITY"

There are plenty of ideas here: our obsessive pursuit of perfection, the artifice of gender, the conflict between individual belief and organised faith. Yet Tiresia always seems to be striving for profundity, with its excerpts from Beethoven's 7th Symphony on the soundtrack, the repeated footage of molten lava, and the blurring of fantasy and memory. Bonello seems to have little interest in the psychology of his characters, and the combination of the unwieldy symbolism and the oppressive mood help drain the life out of the film.

In French and Portuguese with English subtitles.

La Chatte à deux têtes (2002)

La Chatte à deux têtes


Jeste li kada isli u bioskop "Partizan"? Udjete u kino salu, nadjete zgodno mjesto i gledate porniće. A onda do vas sjedne neka kreatura i počne da drka kurac. Onako u mraku jedva razaznajete o kakvoj se kreaturi radi. Onda osjetite da vas dira medju noge. Radoznalost vas natjera da i vi uhvatite njega za kurac pa ako ste zadovoljni veličinom drkate jedan drugom dok traje film. Nakon svršavanja izadjete iz kino dvorane prije nego se upale svjetla. Nikada nećete saznati čiju ste kitu drkali!

E ovaj film vam priča priču baš o tome. Ako ste ikada bili u Parizu, znate gdje je Pigale. Kvart prepun sexy barova, porno bioskopa, sauna i naravno Moulen Rouge itd. Ulicama šetaju tranvestiti, kurve, pederi i svi vas nešto čupaju da idete sa njima u neki od barova ili nedje na sex.

U jednom od tih kina je snimljen i ovaj film koji mi više lići na dokumentarno svjedočanstvo porno bioskopa koji polako izumiru!

Director: Jacques Nolot
Writer: Jacques Nolot (written by)
Release Date: 20 November 2002 (France)
Genre: Drama

Cast
(Cast overview, first billed only)
Vittoria Scognamiglio ... Cashier
Jacques Nolot ... 50-Year-Old Man
Sébastien Viala ... Projectionist
Olivier Torres ... L'homme ŕ la robe jaune
Lionel Goldstein ... L'homme ŕ l'imper noir
Frédéric Longbois ... L'homme ŕ l'éventail
Fouad Zeraoui ... L'homme qui a cu sa dose
Jean-Louis Coquery ... L'homme nu
Raphaëline Goupilleau ... SDF...
Pascal Varley ... SDF...
Arben Bajraktaraj ... SDF...
Christine Paolini ... Fliquette
Matt Trahan ... Flic 1
Mark Duran ... Flic 2 (as Marc Durant)
Frédéric Franzil ... Gigolo



Also Known As: Glowing Eyes (International: English title)
Porn Theater (USA)

Runtime: 90 min
Country: France
Language: French, English subtitle






'La Chatte ŕ deux tętes' (PORN THEATER) is a somber study of a sector of life few know, an aspect of human sexuality that didn't make it into the Kinsey Report, a part of the underbelly of city life most would rather not accept existed. Does that mean it should not be examined, should not provide the impetus for an art film? Writer/director and actor Jacques Nolot thinks otherwise. In this dark little film we are invited into the inner sanctum of a dirty old movie house in Paris that shows only straight pornography for a clientele of men of various types: military men, straight men look for gay sex, married men in need of exploration of their senses, transvestites, old men for whom such places provide the only sexual outlet, and the regulars who spend their evenings in the dingy darkened atmosphere for anonymous sex.




The theater is a theater of life for these people, and the 'stage manager' is the sole female Italian ticket cashier (Vittoria Scognamiglio) who has seen every aspect of sexuality, embraced it, and therefore is wholly non-judgmental. She converses with her straight projectionist (Sébastien Viala) who is attracted to her on several levels, and with one of her regulars (Jacques Nolot), a man of fifty who is living with AIDS in a responsible way, but finds his only sexual outlet to be this theater scene. During the course of the film the cashier manages to discuss her open views of sexuality with these two men and the three of them seem headed for a communal experience.



This open view of human behavior is set with the background of the various acts within the theater. We watch transsexuals ply their wares, group encounters in bathrooms, and various odd approaches and rejections for gratification that in the end represent a group of men who find connection to each other as human beings far more difficult (?impossible?) than quick satisfaction in the dark. There is considerable frank acting out of encounters that are usually not seen on film and that may be more than the regular viewer can tolerate. But at least one director has the courage of Genet and Gide and Burroughs et al to tackle this subject matter in a wholly realistic way. The result is a film of social significance, even though it may not be for everyone. It is an art film, very well made, with a brave cast and an even braver writer and director. To not see it is to miss some important messages about human sexuality and about human needs too frequently dismissed as non-existent. In French with English subtitles. Grady Harp

Paris Is Burning (1990)

Paris Is Burning (1990)

Kada su u pitanju Transeksualci, Tranvestiti i Trans populacija ostajem nemoćan da bilo šta tu objasnim. Jedva da poznajem razliku između tih termina. Naprosto potpuno strani svijet za mene. O tome sam najviše naučio gledajući filmove Pedra Almodovara.
Ovaj dokumentarni film sam kao i mnoge druge ovdije našao surfajući na netu.
Isprva sam se smijao kao lud, a poslije mi se mješao osjećaj gađenja i čuđenja. Kako je film odmicao sa zanimanjem sam pratio priče tranvestita iz različitih društvenih slojeva.
Biti drag queen je za većinu ljudi prikazanih u ovom filmu smisao života. Ali za neke je to samo način ispoljavanja svoje seksualne individualnosti.
Film nam opisuje transgender scenu New Yorka 1990. godine koji nastupaju na "balls compettition" za šta ne umijem da nađem adekvatan prevod. Naprosto nekako izraz imati muda mi neide uz ova stvorenja na filmu. Ono što definitivno stoji da bi na našim prostrima bukavalno trebalo imati muda i prikazati se u takvim queen izdanjima kakvih možete vidjeti u ovom dokumentarcu.


English: (from wikipedia)
Paris Is Burning is a 1990 documentary film directed by Jennie Livingston. Filmed in the mid-to-late 1980s, it chronicles the ball culture of New York City and the poor, African American and Latino gay and transgendered community involved in it. Many consider Paris Is Burning to be an invaluable documentary of the end of the "Golden Age" of New York City drag balls, as well as a thoughtful exploration of race, class, and gender in America.

The film explores the elaborately-structured Ball competitions in which contestants, adhering to a very specific category or theme, must "walk" (much like a fashion model's runway) and subsequently be judged on criteria including the "realness" of their drag, the beauty of their clothing and their dancing ability.

Most of the film alternates between footage of balls and interviews with prominent members of the scene, including Pepper LaBeija, Dorian Corey, Anji Xtravaganza, and Willi Ninja. Many of the contestants vying for trophies are representatives of "Houses" (in the fashion sense, such as "House of Chanel") that serve as intentional families, social groups, and performance teams. Houses and ball contestants who consistently won in their walks eventually earned a "legendary" status.

Jennie Livingston, who never went to film school and who spent 7 years making Paris Is Burning, concentrated on interviews with key figures in the ball world, many of whom contribute monologues that shed light on the ball culture as well as on their own personalities. In the film, titles such as "house," "mother," and "reading" emphasize how the subculture the film depicts has taken words from the straight and white worlds, and imbued them with alternate meanings, just as the "houses" serve as surrogate families for young ball-walkers whose sexual orientations have sometimes made acceptance and love within their own families hard to come by.

In explaining the rules of the Balls (and the slang and terminology that goes along with them) the film also shines light on the societal hardships of Ball community members (such as racism, homophobia and poverty) and how these obstacles influence the participants (some are sex workers, some shoplift clothing to wear in the Balls, some were thrown out of their homes by homophobic parents, some are saving money for sex reassignment surgery). It follows several participants through candid one-on-one interviews (both in and out of the Balls) to give insight into their lives and struggles, and ultimately the strength, pride, and humor they maintain to survive in a "rich, white world."

Drag is presented as a complex performance of gender, class and race, in which one can express one's identity, desires and aspirations along many dimensions (see Drag). The African American and Latino community depicted in the film includes a diverse range of identities and gender presentations, from gay men to butch queens to transsexual women.

The film also documents the origins of "voguing", a dance style in which competing ball-walkers freeze and "pose" in glamorous positions (as if being photographed for the cover of Vogue). Pop star Madonna would, one year before Paris Is Burning was completed, bring the phenomenon to the mainstream with her number one song "Vogue".

Awards

* 1990 IDA Award, International Documentary Association
* 1990 LAFCA Award Best Documentary, Los Angeles Film Critics Association
* 1990 Audience Award Best Documentary, San Francisco International Lesbian & Gay Film Festival
* 1991 Grand Jury Prize Documentary, Sundance Film Festival
* 1991 Teddy Award for Best Documentary Film, Berlin International Film Festival
* 1991 Boston Society of Film Critics Awards (BSFC) Best Documentary
* 1991 the very first Open Palm Award, now called Breakthrough Director Award Gotham Awards
* 1991 NYFCC Award Best Documentary, New York Film Critics Circle Awards
* 1991 Golden Space Needle Award Best Documentary, Seattle International Film Festival
* 1992 Outstanding Film (Documentary), GLAAD Media Awards
* 1992 NSFC Award Best Documentary, National Society of Film Critics



Director: Jennie Livingston
Release Date: August 1991 (USA)
Genre: Documentary

Plot Summary: This is a documentary of 'drag nights' among New York's underclass. Queens are interviewed and observed preparing for and competing in many 'balls'...

Plot Keywords: Transvestism / Cross Dressing / Homosexual / Gay African American / Gay Interest
Awards: 12 wins & 1 nomination

Cast
(Complete credited cast)
Carmen and Brooke
André Christian
Dorian Corey
Paris Duprée
David The Father Xtravaganza
Junior Labeija
Pepper LaBeija
Sandy Ninja
Willi Ninja
Avis Pendavis
Freddie Pendavis
Kim Pendavis
Sol Pendavis
Stevie Saint Laurent
Octavia St. Laurent
Anji Xtravaganza (as Angie Xtravaganza)
Bianca Xtravaganza
Danny Xtravaganza
David Xtravaganza
David Ian Xtravaganza
Venus Xtravaganza

Also Known As:
The Children Are (USA) (working title)
To Be Real (USA) (working title)
Runtime: 71 min
Country: USA
Language: English



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Stonewall (1995) repost

Stonewall (1995)

Imamo li pravo osuditi nekoga samo zato jer je drugačiji od nas?
Teško bi bilo započeti ovu temu, a da se ne protegne na hiljade stranica interneta, knjiga, časopisa....

Među tim nikada dovršenim stranicama o različitosti, ljudskim pravima, i pravdi uopšte sigurno se može naći i mnogo napisanih riječi o ovom filmu.
Ovaj film nam govori o začetku borbe za prava homoseksualaca u New Yorku 1969 godine.

Matty Dean dolazi u New York iz udaljene američke provincije , tražeći svoje mjesto u kojem će ostvariti svoj snove, želje, nadanja.
Upadajući u podzemni gay bar "Stonewill Inn", prepunom queer dama, pedera, taranseksualaca i sličnih "otpadnika" društva doživljava brutalnost policije kakvu do tada nije vidio.

Nećete vjerovati ali u to doba je važilo pravilo da je maloljetnim licima i homoseksualcima zabranjivano da budu posluženi u vućini barova i restorana.
Matty sa transeksualcem LaMirandom zaglavi prvo u zatvoru, nakon čega postaje sa njim (njom) intimni prijatelj.
Nakon što LaMiranda dobija poziva za vojsku i na regrutaciji biva odbijena kao seksualno devijantna Matty shvaća koliki je veliki jaz između ljudskih prava za "normalne" i gay populacije.
Maaty se upoznaje sa mladim i zgodnim Ethanom, gay aktivistom koji se zalaže za prilagođavanje društvu na način da ne vrijeđaju nikoga čime nije u stanju ni da zagrli ni poljubi Mattyja ukoliko bi bili na javnom mjestu ili bi ih neko mogao vidjeti.
Matty se suočava sa različitim stavovima i potrebama društva kao što je LaMiranda i neupadljivih pedera kao što je Ethan.
Kada tokom jedne racije u "Stonewall In" dođe do strahovitog nasilja, LaMiranda u društvu Drag Queena započne bitku za pravo na svoj način života.
Ova priča nam predstavlja jedno vrijeme u Americi u kojem je započela borba za gay prava.
Međutim nama balkancima nije potrenbo mnogo objašnjavati kako je to nekada bilo , a kako je sada jer to nekada u Americi je sada kod nas!
















Stonewall (1995)
http://www.film.u-net.com/Movies/Reviews/Stonewall.html

A review by Damian Cannon.
Copyright © Movie Reviews UK 1997

Marking a turning point for gay politics in the US, the rush of events which swirled around the Stonewall Inn in 1969, in New York, is vividly recounted. Arriving in the Big Apple, from hick small-town America, Matty Dean (Frederick Weller) saunters around looking for action. The bright lights and bustling crowds are all a little overwhelming, until he notices a group of outrageous drag queens and tags along for the ride. After following the queens through a blank, nondescript door, Matty finds himself transported into the wonderous parallel universe of the Stonewall Inn. Run by Skinny Vinnie (Bruce MacVittie), a standard low-life, the bar caters for gays with a taste for the extreme. This takes a hefty level of bribes to the local police precinct though, since the law forbids serving drinks to self-confessed gay customers. Unfortunately on this night a raid occurs, forcing a number of quick changes by the clientele. The cops are typically brutal, roughing up a few patrons and dragging away a young drag queen, LaMiranda (Guillermo Díaz), when she stands up to them. Matty goes the same way when he attempts to help, in double trouble because he's under-age.

In jail Matty and LaMiranda get acquainted, later being bailed out by Bostonia (Duane Boutte), the commanding barmaid of the Stonewall and secret lover to Vinnie. Since Matty hasn't got anywhere to go, he moves in with LaMiranda and their relationship deepens. In some ways Matty is an image of how LaMiranda was when she first came to the city; youthful, impetuous, hopeful and burning to change things. Now though she's resigned to the restrictions of her chosen life, fun that it can be. Matty also finds himself attracted to the Mattachine Society, a group of earnest homosexuals who wish to become integrated by making themselves inoffensive. Their conservative, restrained meetings are in direct opposition to the unrestrained hedonism of the Stonewall Inn, two approaches to the same problem. Even though Matty finds himself annoyed by the society, where any sacrifice is worth making for acceptance, he finds himself drawn to a young activist, Ethan (Brendan Corbalis).

A collision between the disparate strands of Matty's life is inevitable, given the yawning gap in attitudes between each side. The set-up for this confrontation arises when the Mattachines decide to declare their sexual preference in a number of bars and see if they're refused service, which they should be by state law. Accompanied by a reporter, the group find that no bar has a problem with their homosexuality (several bars provide drinks on the house!). However, Matty has the bright idea to take everyone to the Stonewall Inn where they are sure to be refused service. The root of such strange behaviour is that the Stonewall is so afraid of being shut down that it's the single place where homosexuality is hidden. Interestingly this illustrates the Mattachines as being far more prepared to take risks than the Stonewall drag queens, despite outward appearances. Matty is forced into a difficult position when LaMiranda and Ethan meet, when he denies his love affair with LaMiranda and, distraught by this rejection, she storms out.
---------------------
Inside Stonewall there's a great story, an epic tale of courage, strength and triumph when all seems lost. However, while this film seeks to attain these qualities it is powerless to resist its slide into stereotypicality. Initially the drag queens have all the bitchiness and rough-diamond qualities that might be expected, but soon they're revealed to uniformly contain soft hearts and an inability to do anything concrete. In some ways the portrayal of the Mattachines is even worse, a society whose members are happy to let America think that homosexuality is a disease as long as they can be accepted! With more convincing acting perhaps these stock characters could have been redeemed and imbued with more interesting qualities, but this doesn't really occur. The saving factor for Stonewall is its great spirit and some excellent scenes, particularly the time when LaMiranda visits the draft office and ends up with "Sexual Deviant" stamped on her call-up notice. Additionally, music has a special significance for the Inn; the mimed performances to pop classics are simply to die for.


Director: Nigel Finch
Writers: Rikki Beadle Blair (writer), Martin Duberman (novel)
Release Date: 3 September 1996 (USA)
Genre: Drama / Comedy
Tagline: The fight for the right to love [USA theatrical]
Plot Outline: A group of homosexual people try to live with dignity and self-respect while events build to the opening battle in the major gay rights movement.
Plot Keywords: Social Activism / 1960s / Homosexuality / Civil Rights / Homosexual
Awards: 4 wins & 1 nomination
User Comments: Good depiction of an historical event. . .
Cast
(Cast overview, first billed only)

Guillermo Díaz ... La Miranda
Fred Weller ... Matty Dean
Brendan Corbalis ... Ethan
Duane Boutte ... Bostonia
Bruce MacVittie ... Vinnie
Peter Ratray ... Burt
Dwight Ewell ... Helen Wheels
Matthew Faber ... Mizz Moxie
Michael McElroy ... Princess Ernestine
Luis Guzmán ... Vito
Joey Dedio ... Angelo
Tim Artz ... Plainclothes Cop
Isaiah Washington ... Uniformed Cop
Candis Cayne ... Diva
David Drumgold ... Diva


Runtime: 99 min
Country: UK
Language: English

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Pictures. trailer, description and links for download!
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Beautiful Boxer (2003)

Beautiful Boxer (2003)

Ovo je zaista zapanjujući film , koji sam odgledao u dahu i nakon kojega sam se osijećao kao nakon pročitane dobre knjige! Vrhunska izvedba, gluma, vizuelni efekti, fotografija i iznad svega priča, bazirana na istinitom događaju.
Film nam priča o slavnom tajlandskom kickbokseru Nong Toomu, travestitu kojemu je sudbina predodredila da se bori za opstanak na najmuškiji mogući način prije nego iz sebe oslobodi ženu.
Film mi je pomogao da shvatim narav travestita kojih sam se zbog nepoznavanja na neki način gnušao i odbacivao.
Nong Toom je rođen u jednoj siromašnoj nomadskoj porodici na Thailandu. Odmalena, prinuđen da radi i bori se za opstanak, je otkrivao svoju drugu stranu ličnosti koja je njegovim sazrevanjem postajala sve jača i izraženija.
Nong Toom je sebe oduvijek smatrao ženom, koja je greškom prirode zarobljena u tijelu muškarca. I te kakvog muškarca ! Snažnog , virtuoznog, zgodnog i privlačnog u svakom pogledu.

Siromaštvo u kojem je odrastao ga je natijeralo da nauči da se bori u kickboksu, nacionalnim sportom na Tajlandu (Muay Thai - Thai kickboxing)
Duboko religiozan, kontrast u njegovom tijelu je shvatao kao svoju karmu govoreći : " U predhodnom životu sam činio loše stvari, zato u ovom moram da patim."
Kada ga je učitelj pitao zašto želiš da boksuješ odgovorio je :" Da bih mogao da zaradim novac i kupim povrće za moju majku!"
Uporno trenirajući kickbox, dok se krijući šminkao i u usamljenim trenucima dozvoljavajući sebi da pokaže svoju žensku stranu, želio je samo jedno, da pomogne roditeljima i da zaradi dovoljno novca da postane žena.
Zaista su dirljive scene u kojima se vidi njegov očaj kada mora da se tuče ili trpi poniženja zbog svojeg ponašanja koje kako su godine prolazile nije mogao da sakriva.
Svoje protivnike koje bi nokautirao u ringu bi poljubio sa mislima " žao mi je što sam te povrijedio, ali u ringu nema drugog izbora.!"
Na vrhuncu slave kada je postao nacionalni prvak u kickboxu, počeo je da uzima ženske hormone koji sumu oduzimali snagu i muškost, prijeko potrebnu za taj surovi sport. Inače na Thauilandu je zabranjeno ženama da se bave tim sportom.
Danas je Nong Toom ( Parinaya Charoemphol ) žena, glumica koja živi u Bangkoku. Ostao je poznati ritual na ringu koji je kao kickboxer izvodio prije svake borbe najljepšeg tajlandskog borca u ringu!
Gledajući ovaj film , pratičete odrastanje i transformaciju Parinaje u ženu.
U fajl koji sam ponudio za download naći će te slike, trajler, opis filma, linkove za download kao i subtitle na našem i engleskom jeziku.

Director: Ekachai Uekrongtham
Writers: Desmond Sim, Ekachai Uekrongtham
Release Date: 29 April 2004 (Singapore)
Genre: Action / Drama
Plot Keywords: Emotion / Mob / Gay / Gay Interest / Gender Reassignment
Awards and nominations:

* Torino International Gay & Lesbian Film Festival – Best Feature Film, winner (2004)
* Thailand National Film Association Awards – Best Actor Asanee Suwan, winner; Best Makeup Kraisorn Sampethchareon, winner (2004)
* San Sebastián International Film Festival – Sebastian Award, winner (2004)
* Milan International Lesbian and Gay Film Festival – Best Film, winner (2004)
* Outfest Achievement Award – Outstanding Emerging Talent, Ekachai Uekrongtham (2004)
* GLAAD Media Awards – Outstanding Film Limited Release, nominated (2006)

Cast
(Cast overview, first billed only)
Asanee Suwan ... Nong Toom / Parinaya Charoemphol
Sorapong Chatree ... Pi Chart
Orn-Anong Panyawong ... Nong Toom's mother
Nukkid Boonthong ... Nong Toom's father
Sitiporn Niyom ... Nat
Kyoko Inoue ... Herself (Female Wrestler)
Keagan Kang ... Jack (the Reporter)
Yuka Hyodo ... Japanese fan
Somsak Tuangmkuda ... Pi Moo
Tanyabuth Songsakul ... Tam
Sarawuth Tangchit ... Nong Toom
Natee Pongsopol ... Nong Toom
Samnuan Sangpali ... Anaconda
Natawuth Singlek ... Ramba
Pat Sasipragym ... Hercules

Runtime: Brazil:118 min / USA:118 min
Country: Thailand
Language: Thai / English / Japanese

Certification: UK:15 / Australia:M / Malaysia:18PL / South Korea:15 / Netherlands:12 / Philippines:R-13 / Singapore:PG / USA:Unrated / Iceland:12
Filming Locations: Bangkok, Thailand


Beautiful Boxer is a 2003 Thai biographical-drama-sports film by Singapore-based director Ekachai Uekrongtham. It tells the life story of Nong Thoom, a famous kathoey (male-to-female transgendered person), Muay Thai fighter, actress and model. She was portrayed by male kickboxer Asanee Suwan.



Based on the true story of Thailand's famed transgender kickboxer, Beautiful Boxer is a poignant action drama that punches straight into the heart and mind of a boy who fights like a man so he can become a woman.



Believing he's a girl trapped in a boy's body since childhood, Parinya Charoenphol (affectionately known as Nong Toom in Thailand) sets out to master the most masculine and lethal sport of Muay Thai (Thai boxing) to earn a living and to achieve his ultimate goal of total femininity. Touching, funny and packed with breathtaking Thai kickboxing sequences, Beautiful Boxer traces Nong Toom's childhood, teenage life as a traveling monk and grueling days in boxing camps. Shot in 9 provinces across Thailand and in Tokyo, the film also features a series of explosive matches where Nong Toom knocks out most of his opponents in Thailand and Japan.

Directed and produced by Ekachai Uekrongtham, the film stars Asanee Suwan, a real-life kickboxing champ as Nong Toom. The role earned him the 2004 Supannahongsa Award (Thailand's equivalent to the Oscar) for Best Actor. Beautiful Boxer also features compelling performances by Thailand's award-winning actor Sorapong Chatree in the role of Nong Toom's coach and former Miss Thailand
Orn-Anong Panyawong as Nong Toom's mother.

Kyoko Inoue, one of Japan's top female wrestlers plays herself in the film. She has fought with Nong Toom in real life back in 1988. That historical match was reenacted for the film in a dramatic sequence shot at Toyko Dome. Nearly all of Nong Toom's opponents in the film are also professional kickboxers in real life.

Beautiful Boxer has been officially selected for the Panorama Section of the 2004 Berlin International Film Festival. It’s the only Thai film in the 2004 Panorama.
He is now a she. In real life, Nong Toom's dream has come true after undergoing a sex-change operation in 1999. Now a model and actress based in Bangkok, Nong Toom can no longer fight in the ring. Women are not allowed in professional boxing rings for men in Thailand.

Born into a poor family of nomads, Nong Toom spent his childhood traveling around the country with his family before settling down in Chiangmai province in the Northern part of Thailand. Prior to his big match in Bangkok in February 1998, he'd won 20 out of 22 matches in many provinces. He's feared by his opponents for his trademark swooping kicks, flying elbows and stinging uppercuts. His deadly prowess in the ring made it hard for the public to understand his ambition of becoming a woman.

Undoubtedly one of Thailand's best known kickboxers, Nong Toom is admired by many for his courage and despised by others who accused him of tarnishing the masculine image of Thai kickboxing.