Fishbelly White (1998)

Fishbelly White (1998)

Director: Michael Burke
Writer: Michael Burke
Genre: Short movie
Country: USA
Language: English
Duration: 22 min
Year: 1998

Stars: Mickey Smith, Jason Hayes, Todd Batstone

 

 

"Fishbelly White" chronicles the rural isolation of childlike Duncan (Mickey Smith), who's been lonely since his mother's death. Because his care-worn father ignores him, Darren befriends the farm animals and adopts a chicken as his pet. Abused by his own father, an older adolescent named Perry (Jason Hayes) takes a shine to the outcast. Proclaiming they aren't gay, Darren and Perry suppress a mutual attraction that would outrage Perry's macho friends.

 

Visit: Orvel.Me

 

Matroos (1998)

Matroos (1998)

Director: Bavo Defurne
Writer: Bavo Defurne 
Genre: Short movie 
Country: Belgium 
Year: 1998 
Duration: 16 min

Stars: Joram Schurmans, Tom de With and Tim Peters

Ovaj kratki film o tinejdžeru koji sanja o mornaru koji luta morem prateći zvjezde  i svetionike kako bi se vratio kući me je podsjetio ne nekadašnja moja sanjarenja kada bih kao klinac noću ležao na taraci i gledao u zvjezde. Znao sam sva sazvježđa, imena zvijezda i priče o njima. Nekako sam ih uvjek povezivao sa mojom omiljenom knjigom Mali Princ, a najupečatljivija priča mi je bila ona o zvjezdi na kojoj je bio samo jedan svjetionik sa svjetioničarem. Tamo negdje daleko je bio završetak mog dalekog putovanja. Nije još završio pa vam ne znam reći tačno gdje je to.

This is a candy colored, stunningly photographed wordless romance between a young man living in Belgium and a Dutch sailor or 'matroos'. The man in Belgium is played by Joram Schurmans, who is called Joram Roodhooft. The sailor is played by Tom de With, who uses his own name for the role. Some have compared the look of the film to the work of the French photographers Pierre et Gilles, and there is a lot of that hot house atmosphere and those saturated colors here, but the look of the film, I would say, is more like the initial, nonsexual scenes in a Tom of Finland comic book--stalwart, stunningly handsome young naifs in a clean-lined 1950s world. A lot of the scenes are clearly filmed against a green screen or a back projection. And other scenes are clearly in beautiful sets. It is beautiful and theatrical, like a more delicate version of 'Querelle'. The boys kiss on the beach, two stunningly handsome young men. As the sailor travels to exotic climes, such as Ecuador, they send to one another an erotically suggestive tropical flower, and then, over and over, the same chocolate bar. In the end, when they feel they must go their separate ways, drifting apart and fearful of the world in which they live, the scenes take place very much in the real world, at a dock and its attendant sheds. Yet the look of the film--the colors and the grain of the film stock, look like authentic 1950s documentary footage--real yet artificial, still beautiful.

Visit: Orvel.me

Man Is a Woman (1998)

Man Is a Woman (1998)

Original tiltle: L'homme est une femme comme les autres

 

Director: Jean-Jacques Zilbermann
Writers: Gilles Taurand, Joële Van Effenterre (story)
Genre: Drama
Year: 1998
Country: France

Stars: Antoine de Caunes, Elsa Zylberstein and Gad Elmaleh

 

Man Is a Woman (French title: L'homme est une femme comme les autres) is a 1998 French film directed by Jean-Jacques Zilbermann

 

Mnogi pederi koji čitaju ovaj blog se nalaze u fazi kada skoro svakodnevno čuju pitanja: "Kad ćeš da se ženiš? Dosta si bio momak vrijeme ti je da se uozbiljiš! " … 
Jeli vam poznato? Vremenom počnete izbjegavatii famiiju, ne idete na porodične zabave, ne idete na svadbe. Godine prolaze i ako sve to izrdržite imaćete sreću da postanete matori peder!
A ako ne, onda se prvo oženite, pa onda možete biti peder koliko god hoćete! Sve vam postane dozvoljeno dok to radite diskretno!
U ovom filmu Simon koji je prešao tridesetu godinu života upada u situaciju kada svi od njega očekuju da se oženi i da ima porodicu. Naravno malo ko od njih zna da Simon najviše voli da upada u krevet sa muškarcima, obožava saune, sex na brzaka, gay društvo…

Nakon svadbe njegovog najboljeg druga i rođaka,  dobija ponudu od bogatog ujaka da ako se oženi dobiće 10 miliona franaka. Majka koja zna da joj je sin peder mu kaže: "Ako treba da patiš u životu , pati bogat. Oženi se, pa budi gay koliko hoćeš!"
I tako Simon odluči da se zbliži sa Rosaline, djevojkom iz konzervtivne jevrejske porodice, koja ne želi da ima seks prije braka. Odluči da se ženi.U jednom momentu mu se sve smuči i kaže joj da je on nevin. Ona oduševljana kaže kako je divno što će oboje nevini ući u brak. Na njegovu rečenicu da je nevin sa ženama, ali ne i sa muškarcima, njeno jedino pitanje je bilo: Top or botom?

 

FIlm možete pogledati na youtube OVDJE.

 

 

Simon (Antoine de Caunes) is thirtysomething, at ease with his homosexuality and carrying an unacceptable overdraft on top of 40 Gauloise a day. When the uncle (Michel Aumont) he doesn't like offers him a small fortune to get hitched, since he is the last of the male line, he hesitates long enough to discuss it with mama (Judith Magre), who takes the view: "If you have to suffer, suffer rich."

Having set up a gay man's nightmare, director Jean-Jacques Zilberman takes pity on all concerned and sugars the pill. Rosalie (Elsa Zylberstein), the girl in question, starts off as a naive virgin, with a string of infuriating habits, mostly to do with her health, and ends as a feisty trooper who believes that love conquers all, despite what they say in the bath houses.

The film lacks conviction, sliding between a soft approach to bisexuality and wondering where to go next. Once the feared wedding night has been crossed, made easier by her nervousness, the only running story is whether Simon is going to make it with cousin David (Gad El Maleh) before Rosalie storms off in a huff. Frankly, my dear, who gives a damn?

Trailer:

 

Watch movie HERE

 

Visit Orvel.Me

The Virgins aka Les Puceaux (1998)

Jednom je prvi put sa muškarcem, a drugi nikad nije bio sa ženom. Pa od onoga što nikad nije bio sa muškarcem možeš napraviti pedera, a od pedera nikad str8.

Kratki film François Ozona nam priča o prvom iskustvu sa muškarcem jednog momka. Pogledajte.

Director: François Ozon
Genre: Short movie
Year: 1998
Country: France

 

 

The Virgins aka Les Puceaux (1998 France) Two Experienced French Boy Virgins.

Visit Orvel.Me

The Object of My Affection (1998)

The Object of My Affection (1998)

Director: Nicholas Hytner
Scenario: Stephen McCauley, Wendy Wasserstein
Genre: Comedy, Drama, Romance
Country: USA
Year: 1998
Duration: 111 min
Rating: 5.9/10

Actors: Paul Rudd, Kali Rocha, Jennifer Aniston, Lena Cardwell, Natalie B. Kikkenborg, Lauren Pratt, Hayden Panettiere, Lauren Chen, Liam Aiken, Alan Alda, Allison Janney, Tim Daly, Janet Zarish, Ellen Tobie, Virl Andrick

Description:
Ovaj film sam pogledao danas na Hrvatskoj RTL televiziji! Slatko sam se nasmijao situaciji kada se trudna riba zaljubila u slatkog gay momka! Pa zar ne zna da je taj tip samo pijan može kresnuti?
O toj situaciji ne mogu pisati iz svog ličnog iskustva jer sam do svojij tridesetih godina svaku ribu koja bi se "zaljubila" u mene kresnuo! Ali većina 100 postotnih pedera nemože ni zamisliti da zavuče svoj cjenjeni penis u tu "odvratnu vlažnu rupetinu" Valja misle da će im ga trajno progutati!
No šalu na stranu, poznat vam je termin Fag Hag. Označava curu koja voli pedere. Često ih toliko vole da ih pobrkaju sa pravim muškarcima. Pa onda krenu u akciju "preobraćenja" Naravno svaku pokušaj da od pedera napravite str8 lika je uzaludan! Ne odnosi se na bisex ljude.
Poneki peder bi i uspio da obavi snošaj sa ženom samo u prisustvu još jednog muškarca, najbolje da mu ga nabije u dupe dok kara ribu! Pisac ovih tekstova je i to probao!:)
Ova romantična komedija, ukoliko je još niste gledali dodiruje baš tu temu! Dva sata će vam brzo proći!

RTL.hr

Susret Georgea i Nine brzo završava zajedničkim zaključkom: oni su stvoreni jedno za drugo - ako se zanemari mala sitnica, da je George (Paul Rudd) homoseksualac. Iako je trudna s drugim muškarcem, Nina (Jennifer Aniston) ne planira nastaviti zajednički život s ocem svoga djeteta, već poziva Georgea da bude njezin cimer. George prihvaća Ninin poziv, budući da je i sam nedavno izašao iz nesretne veze, i postaje Ninin najbolji prijatelj. Iako je Georgeovo seksualno opredjeljenje uvijek prisutna zapreka, situacija dobiva dodatnu težinu kada se George zaljubi u mladoga glumca (Amo Gulinello)...
Nakon uspjeha „Prijatelja", filmska karijera Jennifer Aniston nije ostala zanemarena. Nastupivši prvo u niskobudžetnom hororu „Vilenjak", lijepa je Jennifer potom zaredala romantične komedije, da bi se potom okušala i u izvrsnoj drami „Dobra djevojka". U „Predmetu obožavanja" Jennifer Aniston romantično je povezana s epizodistom iz „Prijatelja", Paulom Ruddom, u intrigantnom zapletu koji se dotiče složenih veza izraslih iz prijateljstva. Nimalo jednostavan zadatak uprizorenja niza dramskih situacija, koje bilježe suptilno mijenjanje jedne prijateljske veze, izvrsno je odradio cijenjeni britanski redatelj Nicholas Hytner.
George Hanson (PAUL RUDD) is a preschool teacher and Nina Borowski (JENNIFER ANISTON) is a community center counselor who meet at a party hosted by Nina' pompous stepsister, Constance Miller (ALLISON JANEY) and her literary agent husband, Sidney (ALAN ALDA). After talking with George's boyfriend, Dr. Robert Joley (TIMOTHY DALY), Nina drops the bombshell that he's planning to break up with George.

Needing a place to live, George agrees to move into Nina's spare bedroom, a fact that her lawyer boyfriend, Vince McBride (JOHN PANKOW), can't stand because he wants to move in with her. Soon, Nina and George become best friends, and both agree to let the other lead their own personal lives. When Nina announces she's pregnant by Vince, however, she tells George that she wants him to help raise the child instead of Vince whom she can no longer stand. Although reluctant at first, George agrees after sensing that this might be his only chance at fatherhood. Eventually, the two begin to become attracted to each other.
Yet, when George gets a call from Joley, his attraction toward men is rekindled, and that's further strengthened after he meets Paul James (AMO GULINELLO), a young theater student who lives with an older theater critic, Rodney Fraser (NIGEL HAWTHORNE). Soon George and Paul become an item, much to Nina and Rodney's collective dismay. As Nina's pregnancy continues, she must decide between raising the child alone, with Vince, or to continue pursuing George who may or may not be there for her.

Gods and Monsters (1998)

Gods and Monsters (1998)

Director: Bill Condon
Scenario: Christopher Bram, Bill Condon
Genre: Drama, Biography
Country: UK, USA
Year: 1998
Duration: 105 min
Rating: 7.5/10

Actors: Ian McKellen, Brendan Fraser, Lynn Redgrave, Lolita Davidovich, David Dukes, Kevin J. O'Connor, Mark Kiely, Jack Plotnick, Rosalind Ayres, Jack Betts, Matt McKenzie, Todd Babcock, Cornelia Hayes O'Herlihy, Brandon Kleyla, Pamela Salem

Description:
Dugo sam ovaj film čuvao na hard disku jer naprosto nisam bio raspoložen da ga gledam. Ipak sam danas nakon napornog posla odlučio da ga odgledam i stvaim na bolg. Obično filmove koji mi se ne sviđaju ne komentarišem, ali ovaj me se doista dojmio!
Idu godine naprosto lete i što smo stariji to imamo više priča iz sopstvenih života. Vremenom će mo sigurno ostati sa svojim uspomenama i pričati svoje priče u nadi da će ih možda ipak neko zapamtiti.

Tako je i ovaj režiser James Whale, predkaraj života ostao da živi među svojim slikama, pričama i filmovima. Stvari ponekad imaju svoje posebno značenje, kada ih uzmemo u ruku ili samo pogledamo vrate nas u neku našu priču i makar na trenutak probude u nama emocije koje smo davno zaboravili.

Ova priča o režiseru, prvaku filmova o Frankeštajnu, me je podsjetila na jednog starca kojeg sam volio na jedan poseban način.Pričao mi je priče iz svog života, o ratu, o ljubavi o strasti, o ljudima.... Sve sam upijao kao sunđer i od njega sam mnogo naučio. Pričao mi o svom braku, djeci, razvodu, ljubavi prema muškarcu i o tome kako moramo uvjek naći način da poslušamo svoje srce. Jednom prilikom mi je rekao da mu mnogo značim jer zna da će ipak neko znati njegovu priču koju nikome nikada nije ispričao. Na žalost on nije više živ, ali mnoge stvari o kojima mi je on pričao prenosim i ja vama!
Inače ovaj režiser James Whale, je živio uvijek onako kako je osjećao da mora i može. Snimao je filmove, živio u svojoj imaginaciji, putovao, slikao... Pred kraj života upoznaje mladog čovjeka, nesigurnog u sebe i u njemu vidi reinkarnaciju nekog ko je davno nestao iz njegovog života!
Bil Condon nam na jedan poseban način prikazuje odnos ovejanog matorog homoseksualca i mladog heteroseksualnog baštovana.
Zaista sjajna psihološka drama!

VARIETY.COM
By DENNIS HARVEY

Ian McKellen's brilliant performance as 1930s director James Whale highlights "Gods and Monsters." Historical Hollywood fiction drawn from Christopher Bram's book "Father of Frankenstein" doesn't always convince, particularly in the last lap. But it's an engrossing, unusual, imaginatively executed bit of psychological gamesmanship nonetheless. Director-scenarist Bill Condon's first-class production will need good reviews and strong marketing to cross over beyond gay and arthouse auds.

Brit-born Whale's career took off brilliantly in the talkies' first decade, starting with the transcription of his stage hit "Journey's End," then including the first "Waterloo Bridge" and "Show Boat." His name was made, however -- to a certain personal chagrin -- by three witty, visually peerless Universal horror classics: "Frankenstein," "The Invisible Man" and "Bride of Frankenstein" (the latter much-excerpted here).

Such success rendered even his fairly uncloseted homosexuality bearable to studio heads, who kept mum. But once their drastic recut of an expensive '39 war pic, "The Road Back," flopped, his career was finished. He was found at the bottom of his Pacific Palisades pool in 1957, under "mysterious circumstances."

Story is set in helmer's final days, painting a portrait of a physically frail, socially isolated has-been who feigns contentment hanging about his tony digs under the watchful eye of longtime Hungarian housekeeper Hanna (Lynn Redgrave). Just back from a stroke-induced hospital stay, he's heavily medicated, clearly at rope's end with his mental and bodily deterioration.

Yet a bit of leering prankishness remains alive yet, as demonstrated when Whale makes a fawning young film student (Jack Plotnick) shed a clothing article for each question answered.

A stronger lure is the new gardener Clayton (Fraser), a muscle-bound, rootless odd-jobber living in a trailer. Though suspicious, this unsophisticated hunk is flattered by the attention. Cat-and-mouse play ensues, as the elder uses his new, vehemently heterosexual protege by turns for leering amusement, companionship and possible fatal delivery from a once-dignified life ebbing toward undignified fade-out.

Whale's stroke-debilitated weavings in and out of reality provide vivid narrative punctuation. At times he recalls the working-class English childhood he'd fled (and falsified later for publicists); at others, scenes from his famed "Frankenstein" pics take on frightening immediacy. But the memory tugging hardest is of the great love he'd lost in World War I battle. That's one he'll take to -- and hopefully re-embrace in -- the grave, whether Clayton expedites matters or not.

Condon softens the harsher edges in Bram's novel. Latter painted Whale as too bitchily misanthropic to allow much sympathy, while the book's Clayton was an opportunist and quietly raging malcontent. Overall, changes from this cold playoff are to the good, making "Gods" more complex, more poignant than the "Sunset Boulevard"-style grotesque psychodrama it might have been.

Nonetheless, central character dynamic doesn't entirely work. One problem is that Fraser -- who's lent intelligence, sweetness and comic flair to even Neanderthal roles like "George of the Jungle" and "Encino Man" -- can't help but make Clayton's rudderlessness seem a bit improbable. We don't believe he'd be so easily manipulated, or that he'd fare so poorly with women (Lolita Davidovich plays a barkeep who gives him the brush-off). As usual, Fraser gives a polished perf, but he's miscast. He's also stuck with a poorly conceived, gratuitous coda.

McKellen, on the other hand, has seldom found such an ideal role. This Whale keeps a silvery, barbed wit sharp for his own entertainment -- in one memorable party scene, he embarrasses fellow gay helmer George Cukor in front of visiting Princess Margaret. Yet despair at his own helplessness, nostalgia and vague regret are ever-present. It's a bravura turn.

Redgrave does a rather broad job with the stern, loyal, disapproving housekeeper; at times she seems to be parodying Lotte Lenya. Support roles (including fleeting stand-ins for stars Boris Karloff, Elsa Lancaster and Elizabeth Taylor) are well handled.

Though the last 15 minutes or so falter, director Condon (best known for the cult pics "Strange Behavior" and "Strange Invaders") otherwise executes a demanding mix of intimate character drama and fantasy elements with imaginative grace.

Stephen M. Katz's widescreen lensing is tops; some B&W segs successfully mimic "Bride's" expressionist splendor, helped to no end by Richard Sherman's dexterous production design. Carter Burwell's score may be a tad earnest, but it does help ballast this curious story's reach toward pathos.

Love Is the Devil: Study for a Portrait of Francis Bacon (1998)

Love Is the Devil: Study for a Portrait of Francis Bacon (1998)




Year: 1998
Genre: Biography, Drama
Rating: 6.7/10
Director: John Maybury
Duration: 90 min
Country UK, France, Japan


Actors: Derek Jacobi, Daniel Craig, Tilda Swinton, Anne Lambton, Adrian Scarborough, Karl Johnson, Annabel Brooks, Richard Newbould, Ariel de Ravenel, Tallulah, Andy Linden, David Kennedy, Gary Hume, Damian Dibben, Antony Cotton










Slike Francis Bacona mi se definitivno ne dopadaju, nekako su u potpunom haosu, izgledaju mi kao noćna mora odsanjana u poslijepodnevnom snu.
A gledajući ovaj film vidim i zašto je tako! Pa život ovog idiota je isti kao i njegove slike. Glumi ga jezivo aseksualni Derec Jacobi koji izgleda kao da je upravo došao na dopust iz paklenog devetog kruga! A ko mu je ljubavnik? Daniel Craig, moj miljenik iz filma Infamous (2006). Ni on pored ovog mučenika ne izgleda kako inače izgleda! A i ko bi mogao biti normalan pored Francis Bacona?! Bacon opsjednuti mazohista kao da je potajno priželjkivao da okonča od ruke svog ljubavnika George Dyera (Daniel Craig). Ali vjerovatnije je bilo da će nesretni depresivni George sam sebi prekrati muke zbog haosa koji mu stvara mazohistički nastrojen Bacon.
Dyer je izvršio samoubistvo trovanjem tabletama 1971. godine.
Bacon se smatra jednim od nacjenjenijih Britanskih slikara. Moglo mu je i biti jer u njegovo vrijeme , a i danas, sve što je nerazumljivo smatra se umjetnošću. Iako je bio peder koji je obožavao muško tjelo nikada ga nije uspio realno i nacrtati. Al u njegovim apstrakcijama se da naslutiti okovana muška snaga, koja bi ga kada bi izašla iz kaveza najradije isprebijala dok ne bi svršio uživajući u sopstvenom poniženju!
Eto toliko od mene, bez ljutnje ne možemo biti svi ljubitelji apstrakcije, posebno ne Baconove!
Uh nisam izdržao , a da ne stavim sliku Daniela Craiga, golog u kadi! Eh da mi se uvaliti kod njega!

VARIETY.COM
By DAVID ROONEY

Unconventional, audacious and uncompromising in every sense, John Maybury's "Love Is the Devil" is a very personal interpretation of the destructive relationship between British painter Francis Bacon and his lover and muse, George Dyer. This provocative film's unflinchingly unsympathetic portrayal of the artist -- ferociously played by Derek Jacobi -- and its often distancing, experimental style, make it clearly an item for niche audiences. But it nonetheless looks certain to become a talked-about release backed by plenty of critical heft, and a benchmark for future films about artists.

Presumably unable to obtain permission from Bacon's estate to use his work, Maybury instead has developed a visual style that approximates his morbid, horrific images in boldly inventive ways. Many films in recent memory -- including Maurice Pialat's "Van Gogh," Julian Schnabel's "Basquiat" and "Caravaggio" by late Maybury crony Derek Jarman -- have to some degree incorporated their subject's painting style into their approach. But the fusion here between Bacon's work and Maybury's portrait of him goes much deeper, showing a filmmaker with startling control.

Opening with Bacon's crowning success, a 1971 retrospective at the Grand Palais in Paris, the film backtracks seven years to recount his meeting in London with Dyer (Daniel Craig) a small-time criminal from the lower-working-class East End. Dropping through a skylight to rob Bacon's studio, Dyer instead is ordered by the painter to remove his clothes, come to bed and then take what he wants. He does as instructed and becomes Francis' "new tart," soon being introduced to the coterie of bitchy friends with whom he carouses at Soho's Colony Room and whom the painter describes as "the concentration of camp."

Bacon's sexual proclivity for masochism -- conveyed with great restraint by Maybury -- is matched by his emotional sadism, which is put on hold during the relationship's early stages as he relishes his lover's mix of amorality and innocence. But as time passes, his contentment seems to fade. He begins belittling George in public for his lack of sophistication, locks him out while he entertains other rough trade and is scornfully dismissive about his suicide attempts.

Jacobi's remarkable performance depicts Bacon as supercilious and cruel but also quietly appalled by his own life and behavior. He clearly loves George, but while able intermittently to acknowledge this to himself and select friends, he's unwilling to express his feelings to his partner.

Increasingly more locked into drug- and alcohol-induced altered states, George finally does kill himself, as Francis is toasted at the exhibition in which his lover is the subject of some of the most celebrated paintings. The contrast between Bacon's derision when David Hockney offers his condolences and his private grief -- shown succinctly in a desolate opening shot -- makes the artist both a monster and a tragic figure.

Echoes of Bacon's art are everywhere in cinematographer John Mathieson's swimming, distorted visuals and grotesque, up-close angles, as well as in specific constructs: a mirrored triptych as Bacon applies makeup, a seafood dinner, tortured sexual couplings and George's pained visions of a bloody, agonized body. The unsettling tone of the material carries through to Ryuichi Sakamoto's dense soundtrack of music, droning and noise.

Known mainly for his work in the BBC drama "Our Friends in the North," Craig has a role is no less central than Jacobi's, and he creates a poignant figure from the sexy lout whose destiny to be discarded is predicted early on by his roughneck friends.
Supporting cast also is on-target, especially the circle of Soho vipers, spitting out their barbs with great aplomb. Leader of the gang is an almost unrecognizable Tilda Swinton, hilarious as the acerbic lesbian den mother.

The film is dedicated to Bacon's friend and biographer Daniel Farson, who wrote what is considered the definitive tome on the artist, "The Gilded Gutter Life of Francis Bacon," and served as consultant here prior to his death.

EDGE OF SEVENTEEN (1998) (USA) (David Moreton) (+Soundtrack)

Edge of Seventeen (1998)

Kada prelisatm spisak svih mojih filmova ispade da je bar polovina sa temom coming out! Većina tih filmova spada u melodramatične srceparajuće drame, sa očitom namjerom da rasplaču pedere širom planete. Naravno ne pada mi napamet da blog napunim tom otužnom tematikom, ali neki filmovi su zaista neizbježni u svakoj kolekciji filmova sa gay tematikom.
Nije da osuđujem pedere koji mašu zastavom duginih boja po ulicama, ali naprosto oni nisu u mom životnom filmu ništa više od sasvim sporedne uloge.
Ovaj film se zaista nemože svrstati u ona klasična jeftina ostvarenja.
Eric Hunter, je sedamnaestogodišnjak u fazi istraživanja svoje sksualnosti koja je sasvim očito homoseksualna. Pokaztuje nam odrastanje jednog pedera, njegove seksualne frustacije, zaljubljenost, razočarenja, gubitak nevinosti....
Simpatična mi je njegova hrabrost i odlučnost da ostvari svoje želje, pa ma koliko nevolja mu to izazivalo. Počev od flertovanja sa najboljim drugom, heteroseksualne prolazne faze sa prijateljicom, prvi poljubac, pušenje, lizanje guze u autu od strane nepoznatog lika, i konačno onog auuuh ovo boli, vadi ga!
Film je prožet muzikom 80-tih godina, a mislim da dosta pedera i dan danas sluša Eurythmics i sjajnu Annie Lennox.
Više o ovom filmu pročitajte u prijateljskom blogu http://gaythemedmovies.blog.hr

Director: David Moreton
Writer: Todd Stephens (writer)
Release Date: 20 April 2000 (Australia)
Genre: Comedy | Drama | Romance

Plot Keywords: Family Relationships | Sex | Oral Sex | Rain | Shower
Awards: 5 wins & 2 nominations
User Comments: HONEST, SMART & SEXY
Cast
(Cast overview, first billed only)
Chris Stafford ... Eric Hunter
Tina Holmes ... Maggie
Andersen Gabrych ... Rod
Stephanie McVay ... Bonnie Hunter
Lea DeLaria ... Angie
John Eby ... Dad
Antonio Carriero ... Andy
Jason Scheingross ... Steve Hunter
Tony Maietta ... Gregg
Jeff Fryer ... Jonathan
Kevin Joseph Kelly ... Chuckie (as Kevin J. Kelly)
Mark Gates ... Foodtown
Stevie Reese Desmond ... Ruby Rogers
Barbie Marie ... Frieda
Craig H. Shepherd ... Irate Customer (as Craig Shepherd)


Runtime: 99 min | Australia:103 min
Country: USA
Language: English

"Edge of Seventeen" is more about sex and less about love than most coming-out movies; its young hero, Eric, seems to aim directly for gay bars and empty promiscuity without going through intermediate stages of self-discovery, idealism or the qualities encompassed in the code word pride. He cheerfully wants to become a slut. This doesn't make him unusual; the libido is stronger than the intelligence in many teenagers. He'll grow up eventually.

The movie is set in Sandusky, Ohio, in 1984, and said to be based in part on the memories of its writer, Todd Stephens. It was an era when flamboyantly gay pop acts were highly visible, and the film cites Boy George and Bronski Beat. It's about a summer of sexual initiation for Eric (Chris Stafford), a spacy teenager who seems a little dazed a lot of the time; later he'll learn to mask his cluelessness with cool detachment.

Eric gets a summer job in the restaurant of an amusement park. Also on the staff: his best friend Maggie (Tina Holmes), a lesbian manager named Angie (Lea DeLaria) and a blond guy named, inevitably, Rod (Anderson Gabrych), who wants to seduce him. Eric doesn't have the usual tumultuous struggle against his emerging gay identity; Rod smiles at him, Eric gets the idea and in a relatively short while they're sharing quality time in the meat locker. It's obvious to Angie, and even in an unacknowledged way to Maggie, that they're an item.

We see a little of Eric's homelife. His dad (John Eby) is a salt-of-the-earth type, and his mom (Stephanie McVay), a much more fully developed character, is a former musician who put her career on hold for marriage and motherhood, but takes pride in the new age compositions Eric pieces together on his electronic keyboard. As Eric's hairstyle morphs from mop-top to David Bowie and his eyeliner consumption goes up, she begins to worry--especially when he starts staying out all night and (although not enough is made of this) coming home drunk.

Rod turns out to be a disappointment as a first love; he quickly disappears back into "the gay dorm at OSU." He makes a poor role model. "Don't call me again," he tells the lonely Eric on the phone one night. Depressed, Eric heads for the Universal Fruit and Nut Co., Sandusky's only gay bar, where the manager is, inevitably, Angie from the summer restaurant job. Angie welcomes him joyfully, reassures him there is life after coming out and introduces him to three aging queens, one in drag, who become his buddies.

It is enormously helpful of Angie not to card Eric, whom she knows is four years under age, since the gay bar will play such a central role in the plot. Soon Eric has his second sexual experience, a quickie in the parking lot with another guy who likes him only for his body. "Uh, wouldn't you like my phone number?" Eric offers. Depressed by his experiences as a mindless sex object, he turns for consolation to Maggie, who helps him find out if he likes straight sex (he doesn't). Maggie, Eric's mother, and Angie the manager are the most fully realized characters in the movie, which doesn't offer a single positively drawn male homosexual.


Watching the movie, I thought, yes, for a lot of people straight and gay, the initiation to sexuality is like this: awkward physical couplings, loneliness, misunderstanding, angst and then finally you grow interested in the person attached to the sexual organs and not the other way around. "Edge of Seventeen" may be more realistic, if less encouraging, than a more sensitive gay coming-out story like the recent British film "Get Real." It deals with physical details with almost startling frankness and doesn't sentimentalize.

If it seems to introduce Eric directly into the world of gay cliches (drag queens and strangers in the night), perhaps in Sandusky in 1984 that was the only visible gay culture, and more substantial relationships were low profile. My hope for Eric is not merely that he grows comfortable with his sexuality, but that he becomes a more interesting conversationalist, hopefully before I see him in another movie.



Pictures, description, video music files, links...



OST: 'Edge of Seventeen'
by Various Artists












Original Motion Picture Soundtrack Selections
..

Sex/Life in L.A. (1998)

Sex/Life in L.A. (1998)

Na žalost, kao i mnogo puta do sada sa neta sam skinuo toliko smeća pa se toliko iznerviram da naprosto ugasim računar, sa namjerom da ga ne upalim bar nekoliko dana. Sudeći po dobrim trajlerima i fotografijama često pomislim kako se radi o dobrom filmu, ali ispadne da je to jedino dobro od njega.
Od nekoliko filmova sa gay tematikom koje sam skinuo zaključio sam da ni jedan ne zaslužuje da se nađe na ovom blogu, čak ni pod rubrikom "loš Film"

Zato vam predstavljam još jedan dokumentarac koji i nije nešto posebno dobro napravljen, ali ima zanimljivu tematiku, Sex life in L.a.
Kroz priču 9 momaka, koji rade u sex industriji L.A. ovaj dokumentarac nam pokušava približiti život koji se odvija oko porno industrije, eskorta, i svega onoga što se odvija iz scene.
Porno glumci, fotografi, eskort momci, modeli itd, koji sanjaju o nekakvom uspjehu, slavi i bogastvu nam pričaju o svom životu , poslu , razmišljanjima...
Jochen Hick se nije libio da nam kao dijelove priča ovih momaka prikaže i najeksplicitnije scene, tako da je ovaj film sa pravom dobio oznaku koju dobija bilo koji pornić.

Director: Jochen Hick
Writer: Jochen Hick (writer)
Release Date: 11 May 1999 (USA)
Genre: Documentary
Plot Keywords: Nudity / Explicit Sex / Intimacy / Porn Star / Prostitution

Cast:
Ron Athey ... Himself
Matt Bradshaw ... Himself
Rick Castro ... Himself
John Garwood ... Himself
Kevin Kramer ... Himself
Cole Tucker ... Himself
Tony Ward ... Himself

Runtime: 91 min
Country: Germany / USA
Language: English
Certification: UK:18 / USA:Unrated

English:
Michael Sullivan narrates this German-made English-language film, a downbeat documentary about male sex for sale in Los Angeles. German director Jochen Hick focuses on nine diverse interview subjects, including muscular, HIV-positive real estate broker Cole Tucker, actor Matt Bradshaw, fashion model Tony Ward (famed as Madonna's former lover and for his contribution to her "Justify My Love" video), photographer Rick Castro, performance artist Ron Athey, and homeless hustlers David and Patrick. Shot in 16mm, this film was shown at the 1998 San Francisco Lesbian & Gay Film Festival. ~ Bhob Stewart, All Movie Guide

Nine young men who want to have a successful life in Los Angeles. A film about survival. About fashion models, hustlers, porn actors, photographers and performance artists. They all work with their bodies to realize their dreams and each dream is different. The film shows most intimate views of their lives behind cover photographs. It includes very private parts of Tony Ward and his story of success and failure in Hollywood. SEX/LIFE IN L.A. is an intimate encounter with people who are working with their bodies and who are struggling to survive - in L.A..



Download:
Pictures, trailer, description and links for download movie

Carícies (1998) aka Caresses (USA)

Carícies (1998) aka Caresses (USA)

Jedva odgledah ovaj film, valjda sam bio previse umoram za ovako čudan film. Film se sastoji od 11 priča u kojima uvjek jedan karakter pređe unarednu priču. Valjda zbog umora ili me već godine stižu, ja sam zapamtio samo 10 priča. pa evo tih 10, a vi ako vas interesuje đe su mi se izgubila jedna odgledajte film kako treba.

1.Film počne sa svadjom jednog bračnog para đe On ošamari Nju, pa ga ona isprebija i naćera da ode kod komšinice da uzme ulje za salatu.

2. Ona priča sa starom majkom koja se žali kako je sama.

3.Stara majka u domu za matorce pleše tango sa drugaricom, koja joj opali žvaku.

4. Ova što joj je opalila žvaku ode kod beskućnika kojemukaže da smrdi.

5. Beskućnik spava na ulici i dolazi klinac da ga opljačka. Klinac mu ispriča priču kako je sa drugarom uzeo drogu i kako su trošili novac i drogirali se sa drugarima ulicama grada.


5. Klinac se kupa u kadi, ulazi mu otac. Počinje priča između njih dvojice pri kojoj klinac svako malo zove oca da uđe u kadu, otac na kraju uđe u kadu, a klinac komentariše kako otac ima veći kurac od njega i kako je dlakaviji.

Find more videos like this on GAY THEMED MOVIE
Story No. 5



6. Otac sreće u jednoj samoposlugi neku ribu i priča joj kako 3 puta dnevno pere kitu i kako prije nego stavi gaće u mašinu za veš obavezno pomiriše. Žena ga ne razumije.
7. Riba iz samoposluge priča sa ocem, koji sprema večeru.
8. Otac koji je spremao većeru odlazi kod nekog mladog pedera, nosi mu ogledalo. Peder mu puši kurac i viče kako ga ovaj matori izluđuje. ( vidi video klip!)
9. Peder priča sa majkom koja mu iz novčanika krade novac. Klinac iz kupatilu sluša svađu iz priče br.1
10.Muž iz priče br. 1 odlazi kod majke od pedera i traži ulje! Ova ga pomazi!
Krug je zatvoren!
Uh jedva otkucah ovo, toliko me je film smorio. Kada budem imao više vremena ponovo ću ga odgledati. Ventura Pons zaista umije da zakomplikuje život na filmskom platnu!


Director: Ventura Pons
Writers: Sergi Belbel (play)
Sergi Belbel (screenplay)

Release Date: 13 February 1998 (Spain)
Genre: Drama

Plot Keywords: Female Frontal Nudity | Female Nudity | Human Relationship | Vignette | City
Awards: 1 win & 2 nominations

Cast
(Complete credited cast)
David Selvas ... Home jove
Laura Conejero ... Dona jove
Julieta Serrano ... Dona gran
Montserrat Salvador ... Dona vella
Agustín González ... Home vell
Naím Thomas ... Nen (as Naďm Thomas)
Sergi López ... Home
Mercč Pons ... Noia
Jordi Dauder ... Home gran
Roger Coma ... Noi
Rosa Maria Sardŕ ... Dona
Jordi Cercos
Sandra Pascual
Guillermo Pardevila


Additional Details
Also Known As:
Carícias (Spain: Castilian title)
Caresses (USA) (video title)
Runtime: 94 min
Country: Spain
Language: Spanish | Catalan
Certification: Argentina:13 | France:U | Spain:13


Scripter Sergi Belbel and director Ventura Pons based this film on Belbel's 1991 play, structured in a fashion similar to Arthur Schnitzler's La Ronde (1900) and Richard Linklater's Slacker (1991): Two character set-ups feature one character from each scene turning up in the next scene, and so on, as a variety of people parade through diverse romantic and sexual situations. Cars careen about via an altered camera speed to provide the linkages between the 11 interlocking scenes. Shown at the 1998 Berlin Film Festival.
Eleven episodes portray different encounters in a large city during the course of a single night towards the end of the millennium. A young man wants to stop living together with a young woman because he believes that they no longer have anything to say to each other. The young woman goes to visit her mother, an elderly woman. She lives with an old lesbian who meets her homeless brother. She asks him to forgive her for having seduced his wife all those years ago, but the brother pretends not to know who she is. A young boy attacks the homeless man. At first he tells him about his wild nights, then he knocks him to the ground and steals the old man's ring. At home the young boy has a bath and asks his father to join him in the tub. The boy's father has a girlfriend, a young woman. He intends to end their relationship... Eleven interlocking scenes that involve two characters, one of whom carries forward into the next scene, until the chain comes full circle.





Download
Pictures, trailer, description, links for download