Tomorrow (2014) Director: Leandro Tadashi Writers: Joshua Paul Johnson Genre: Short Movie Country: USA Language: English Duration: 13 min Year: 2014 Stars: Daniel Rashid, Zachary Roozen, Katie Bake
Clark has never said it, but he's in love with Trevor. It's one of those things that has clearly built up within an existing friendship which is itself so important that he's terrified of putting it at risk. They're both in their teens, on the cusp of going to college, which could tear them apart anyway. When Trevor asks Clark to put in a good word for him with the girl he fancies, Clark agrees - it's what friends do - and tries to hide his quiet devastation. But when the girl turns out to have other ideas, things really start to get complicated.
Situations like this do happen in real life but it's difficult to relate them in film - especially in the short format - without them seeming twee. There's not much to distinguish Leandro Tadashi's short in terms of plot; the background presents us with a house party that has a swimming pool and a band, quite unlikely in real life but an accepted part of the world of teen cinema - and of course, there's not an adult in sight.
What makes the film stand out, however, is the acting, especially Daniel Rashid's sensitive portrayal of Clark, which will hopefully see him getting a lot more attention from casting directors. With the dialogue necessarily flat, the film hinges on what he shows us with his face and body. The mixture of hope, fear, disappointment and excitement that ebbs and flows throughout the film is something anyone who remembers their first feelings of love will relate to.
It's the complexity of these emotions, and of the reactions of the other characters, that gives the film a measure of tension and unpredictability. Polished visuals sit appropriately at odds with the rawness of what its young hero has to confront. Everything here is technically impressive, especially for a small production. It's slight but perfectly formed.
Un Mostro Chiamato Ignoranza (2014)eng. A Monster Called Ignorance
Director: Alessandro Antonaci
Writer: Alessandro Antonaci
Genre: Short movie
Country: Italy
Language: Italian
Duration: 24 min
Year: 2014
Stars: Daniel Lascar, Luca Buongiorno, Chiara Moscatello, Gioa Orlando, Mattia Antonaci, Andrea Zirio, Roberto Pitta, Vanina Bianco, Simone Sarzano
Elia is a 20 years old boy who decides to tell the story about his family in front of a camera. A long flashback shows us how 2 years old Elia was loved by his wonderful parents, Roberto and Marco, and their best friend, 'aunt Sara'. The movie is not set in a specific place or time and shows how beautiful and genuine a LGBT family can be. But ignorance will come in their lives and destroy their happiness. Marco will be taught a very important lesson about how essential facing hate and discrimination is and he will fight every day against that 'monster called homophobia', that still causes attacks, murders, suicides and many more injustices.
Director: Rodrigue Jean
Writers: Ron Ladd (screenplay), Ron Ladd
Genre: Drama
Country: Canada
Language: French
Duration: 120 min
Year: 2014
Stars: Ana Christina Alva, Catherine-Audrey Lachapelle, Alexandre Landry
Love in the Time of Civil War (L’amour au temps de la guerre civile) tells the story of the fairly grubby and unglamorous life of Alex (played by Alexandre Landry) – a young gay guy living in Montreal.
Directed by Quebec filmmaker Rodrigue Jean, this is a movie that celebrates the gritty realism of everyday life in a big city where people do whatever they have to do in order to get by.
Landry is convincing as the confused and directionless young, gay guy who lurches from one drug-fuelled encounter to the next. However it’s hard to feel much sympathy for any of the characters – they’re a fairly unlikeable lot.
This is a story that won’t give you many laughs – it is a bleak insight into a world that you don’t really want to be part of. It does however shine a light into the spiral of despair that drug addiction can create.
Director: Nils Bökamp
Writer: Nils Bökamp
Genre: Drama
Country: Germany
Language: German, English, Polish
Duration: 79 min
Year:2014
Stars: George Taylor, Eric Klotzsch, Michal Grabowski
This whole post-gay thing is super confusing. What do we do now that being gay isn’t the be all and end all?
What do we do now that we are allowed to have straight male friends and be affectionate with them? What’s more, where is all the angsty queer drama going to come from?Take this case study: good-looking German feature You & I.
The “I” here is hot German photographer, Jonas (Eric Klotzsch); sexuality straight. The “You” is hotter English, German-speaking, laughter loving, nudity preferring, ex-housemate, Philip (George Taylor); sexuality gay. The two reunite in Jonas’ Mercedes campervan for a leisurely road trip through the rolling hills of the Uckermark.
Sounds like every second queer film, no?
Throw it in between Harvest (MQFF 2012) and Summer Storm (MQFF 2005); it’s even got the obligatory shirtless pontoon sunbathing scene. There is one small issue though. Sexual tension: nil. Dramatic tension: nil.
Turns out well-adjusted cross-sexuality friendships don’t make for edge of your seat cinema. Yet, You & I isn’t so easily dismissed.
The film’s first act may be a little limp but director Nils Bökamp imbues the young men’s reconnection with enough energy to maintain attention.
Klotzsch and Taylor give engaging performances, cut through with the kind of faux-vérité freshness that warrants the low-key narrative flow. Taylor’s smile has a cheekiness reminiscent of Michael Fassbender, and Bökamp’s laissez faire direction gives him space to flash it openly and often. And that’s not all that’s flashed.
Actually, the nudity counter is off the chart – they’re super comfortable with each other, y’know. All this, and it has to be said, the luscious scenery is extremely well treated by cinematographer, Alexander Fuchs. The point being, You & I is far from a difficult watch.
Then… enter Boris (Michal Grabowski)… we’ll call him the “&”.
Hot, Polish, straggly haired, backpackerly, homophobic; sexuality unlabelled. He brings the tension with him, dramatic and sexual. Well, to a point.
Bökamp’s approach to the material remains impressionistic but the insertion of Boris’ bristling Eastern European values brings a spark that sets the slow burn to a smoulder. It turns out just a hint of traditional pre-post-gay angst is enough to tip this new frontier bro-triangle into strangely endearing territory. Endearing, affecting and gently pulsing with erratic chemistry.
You & I may be a gear change for some but will reward those willing to take it down a notch and embrace its ambiguity. It’s a film riding the zeitgeist (it’s German, it fits) and may well provide some invaluable pointers in this brave new world of gay straight relations: Turn your bromance into romance… or something like that.
Director: Ryan Murphy
Writers: Larry Kramer (screenplay), Larry Kramer (play), Ryan Murphy
Genre: Drama
Country: USA
Language: English
Duration: 132 min
Year: 2014
Stars: Mark Ruffalo, Jonathan Groff, Frank De Julio, William DeMeritt, Taylor Kitsch, Joe Mantello, Julia Roberts, Matt Bomer, Jim Parsons,
Priča o počecima HIV-AIDS krize u Njujork Sitiju ranih osamdesetih, sa hrabrim osvrtom na nacionalnu politiku o seksualnosti u vrijeme kada se gej aktivisti i njihovi saveznici bore da objelodane istinu o epidemiji koja se širi. Ova drama HBO priča dramatičnu, dirljivu i umnogome frustrirajuću priču o počecima HIV-AIDS krize u Njujork Sitiju tokom ranih osamdesetih, sa hrabrim osvrtom na nacionalnu politiku o seksualnosti u vrijeme kada se gej aktivisti i njihovi saveznici bore da svom gradu i naciji u stanju poricanja objelodane istinu o epidemiji koja se širi. Mark Rafalo, Met Bomer, Tejlor Kič , Džim Parsons, Alfred Molina i Džulija Roberts glume u adaptaciji pozorišnog komada Larija Krejmera, dobitnika nagrade Toni. Nakon što je jedan od njegovih prijatelja preminuo od novog, nikada ranije dijagnosticiranog oblika raka, Ned Weeks {Mark Ruffalo} odlučio je preduzeti sve potrebno za borbu protiv istog. Maničan, na momente verbalno agresivan, od strane svojih prijatelja Weeks nije shvaćen ozbiljno. Borbi protiv i dalje nepoznatog virusa, nakon što su izgubili svoje najmilije, pridružila mu se nekolicina njegovih najbližih prijatelja.
Početkom 80-tih godina malo se toga znalo o AIDS-u tj HIV-u. 30 godina kasnije o HIV-u se zna mnogo, ali i dalje ne postoji lijek niti vakcina koja sprečava ovu bolest.
Srećom, opštepoznata prihvaćeno pravilo o obaveznoj upotrebi kondoma i sigurnom seksu sa nepoznatim osobama postalo je dio savremene kulture življanja. Ipak svake godine se dosta mladih ljudi zarazi ovim virusom. Od HIV-a se danas ne umire i osobe koje u sebi imaju virus mogu uz adekvatnu terapiju da nastave normalno da žive. Takve osobe su i dalje prenosioci ovog virusa.
Ono što se može primjetiti da se gaj kultura življenja nije mnogo promjenila u odnosu na 80-te godine proslog vijek. Naravno sve je modernizovano i jednostavno je stupiti u kontakt sa gaj osobama koje na prvo mjesto postavljaju pitanja a/p, god, izgled i veličina kite. Malo ko će vas pitati koji ste film pogledali zadnji put, a još manje njih da li ste pročitali neku knjigu u zadnje vrijeme?
Iako su se skoro svi pederi medjusobno pojebali u skoro svakom malo većem mjestu, možemo biti sigurni da se međusobno vrlo malo poznaju i još manje druže. Opis neke osobe, veličinu kurca i poziciju u seksu će te lako saznati od svakog pedera, ali kakva je ta osoba, kako živi, šta voli, kakve su joj karakterne osobine i slično je nepoznanica za većinu gej osoba. Međusobno nepoznavanje, nepovjerenje koje prevazilazi svaki razuman pristup ljudima i otuđenost je karakteristika današnjeg svijeta koji radije provodi vrijeme sa kučetom u stanu, pored kompjutera nego u zdravoj komunikaciji kroz koju se stića prijateljstvo.
Kako nekada, tako i sada, gej zajednica sama po sebi nije sposobna da se izbori za sopstveni bolji život. Rijetko će neki gej pomoći drugome da nađe posao, ili se založiti za nekog po bilo kom pitanju osim ako iza toga ne stoje neki lični razlozi. Više ustupaka i pokušaja komunikacije sa gej osobama učini str8 čovjek koji na taj načim pokazuje sam sebi karakter i ljudskost nego što će to gej prema drugom geju. Često mi se onladina žali na razne probleme koje ima. Uvjek ih upitam koliko prijatelja imaju i da li su oni spremni da ih saslušaju i pomognu u rješavanju problema? Začudili bi se kako su tužni ti odgovori. Otuda i borba protiv HIV-a vše zavisi od većinskog str8 društva nego od manjinske gej zajednice koja radije sakrivena čuči u nekom žbunju pokraj plaže u nadi da će sjesti na neki kurac, nego da dozvoli bilo kome da je upozna po imenu i prezimenu.
The Normal Heart is a 2014 American drama television film directed by Ryan Murphy and written by Larry Kramer, based on his own 1985 play of same name. The film stars Mark Ruffalo, Matt Bomer, Taylor Kitsch, Jim Parsons, Alfred Molina, Joe Mantello, Jonathan Groff, and Julia Roberts.
It was released on DVD and Blu-ray on August 26, 2014.
The film depicts the rise of the HIV-AIDS crisis in New York City (among gay people) between 1981 and 1984, as seen through the eyes of writer/activist Ned Weeks (Ruffalo), the founder of a prominent HIV advocacy group. Weeks prefers public confrontations to the calmer, more private strategies favored by his associates, friends, and closeted lover Felix Turner (Bomer). Their differences of opinion lead to arguments that threaten to undermine their shared goals.
It is summer of 1981. Ned Weeks (Mark Ruffalo) is an openly gay writer from New York City who travels to Fire Island Pines on Long Island to celebrate the birthday of his friend Craig Donner (Jonathan Groff) at a house on the beach. Other friends in attendance include Mickey Marcus (Joe Mantello) and the charismatic Bruce Niles (Taylor Kitsch), who has recently begun dating Craig. Craig is young and appears to be in good health. While walking on the beach, however, Craig feels dizzy and collapses. Later, when blowing out the candles on his birthday cake, Craig begins to cough repeatedly.
While traveling back to New York City, Ned reads an article in The New York Times titled "Rare Cancer Diagnosed in 41 Homosexuals." Back in the city, he visits the offices of Dr. Emma Brookner (Julia Roberts), a physician who has seen many patients unexpectedly afflicted with the symptoms of rare diseases that normally wouldn't harm people unless their immune systems have been compromised. All of these cases seem to be appearing in gay men. In the waiting room, Ned meets Sanford (Stephen Spinella), a patient whose face and hands are marked with skin lesions caused by Kaposi's sarcoma, a rare cancer. Brookner examines Ned, but finds that he does not have the symptoms of this disease. She asks Ned to help her raise awareness of this disease within the gay community.
Craig suddenly suffers violent convulsions and is rushed to the hospital with Ned, Mickey, and Bruce where he is later pronounced dead. Brookner recognizes Bruce, noting that he is the former boyfriend of another one of her patients who recently died. Ned organizes a gathering at his home where many local gay men are invited to hear Brookner share information about the disease. Though she lacks conclusive evidence, she states her belief that the illness is sexually transmissible and that they should all avoid having sex for the time being to prevent new transmissions. Most attendees question her belief. She notes that few medical journals appear interested in publishing anything on this disease which is mostly affecting homosexual men. Ned announces that he wants to start an organization to spread information about the disease and provide services to those who have been infected.
Brookner and Ned visit a local hospital where several of her sick patients are in critical condition with an illness that is now being referred to as gay-related immune deficiency (GRID). They stay in rooms that many hospital staff are afraid to enter for fear of contracting the disease. Ned, Bruce, Mickey, and several other friends including Tommy Boatwright (Jim Parsons) establish a community organization called Gay Men's Health Crisis (GMHC). The organization sponsors fundraisers for research on the disease now called AIDS and establishes a telephone hotline, counseling, and other services. Over Ned's objections, they elect Bruce their President. Ned arranges for his older brother, lawyer Ben Weeks (Alfred Molina), to provide free legal advice to the GMHC. The two brothers are close, but there remains an underlying tension over Ben's lack of understanding of Ned's sexuality. Ned contacts gay New York Times reporter Felix Turner (Matt Bomer), hoping that he can use his media connections to publish more stories about the unfolding health crisis. Felix laments that it's difficult getting any mainstream newspapers to report much information on AIDS. The two begin a romantic relationship.
The disease continues to spread, claims lives. Bruce attempts to travel to Phoenix with his boyfriend Albert (Finn Wittrock), who is dying, so that Albert can see his mother one more time. The airline refuses at first to fly the plane with sick Albert on board. When they do eventually get to Phoenix, Albert dies following a period of dementia. The hospital doctors refuse to examine him and issue a death certificate, and instead throw him out with the garbage while Bruce bribes a funeral home to cremate his body without a death certificate. Brookner attempts to obtain grant money to continue researching AIDS, but her efforts are rejected by government officials who do not see AIDS as a priority. Ned, meanwhile, is kicked out of GMHC for his combative and aggressive tactics to promote awareness of AIDS, which is causing tension within the group.
Felix comes down with symptoms and his body wastes away as the disease claims his life. Felix arranges for a will with the help of Ben, and leaves everything he has to Ned. The two state their love for one another at the hospital before Felix dies. A few days later, Ned visits his alma mater, Yale University, where a Gay Weekend is being hosted by the students. He admires how young men and women are able to dance with one another openly, without fear of discrimination.
Information is displayed about the growing number of people contracting AIDS, as Tommy's Rolodex pile (the contact info of his friends who have died from AIDS) grows bigger, eventually including Bruce Niles.
Directors: Bonzo Villegas, Carlos Vilaró Nadal
Writers: Bonzo Villegas
Genre: Short Movie
Country: Argentina
Language: Spanish
Duration: 21 min
Year: 2014
Stars: Pablo Delgado, Verónica Paz, Marcos Zerda, Emiliano Monteros, Pola Schiavone, Santiago Gallo, Juan María Juárez, Enzo Torasso, Beatriz Morán
En El Mismo Equipo (On The Same Team, in English) is about the mixed feelings of a young rugby player. He tries to keep in the secret that he is gay, due to conformity mostly, but he struggles with it almost everyday. He longs to be free, but what exactly is freedom to the young man? He isn’t so sure himself.
Director: Dito Montiel
Writer: Douglas Soesbe
Genre: Drama
Country: USA
Language: English
Duration: 88 min
Release Date: 10 July 2015 (USA)
Stars: Robin Williams, Roberto Aguire, Kathy Baker, Bob Odenkirk
Nolan je 60-togodišnji bankar, koji je veći dio svog radnog vijeka proveo u braku sa ženom koji poštuje i voli. Savršeno ispunjavajući sve što se od njega očekuje brine o ocu koji teško bolestan svoje poslednje dane provodi u staračkom domu.
Njegov idilični život narušava slučajan susret sa mladom gay prostitukom,, momkom po imenu Leo, koji nudi seksualne usluge kako bi mogao isplatiti makroa i dilera drogom.
Nolan u maladom Leu vidi sebe u mladim danima u dobu kada je shvatio da je gay ali ništa po tom pitanju nije uradio. Odbacujući taj dio sopstvene ličnosti, živio je onako kako se to i očekuje u jednom malom provincijskom gradiću.
Odbijajući svaki pokušaj da odnos sa Leom pretvori u seksualno iskustvo, Nolan pokušava da stvori jedan intimni, iskreni prijateljski odnos u kojem bi mladoj pederskoj kurvi pomogao da započne jedan novi život, onakav kakav se on nikada nije usudio imati.
Robin Wiliams u ovom svom, na žalost poslijednjem filmu maestralno igra ulogu čovjeka koji je shvatio da do svoje 60-te godine nije ispunio sebe u strahu da ne iznevjeri porodicu i prijatelje.
Da li je kasno da se tu nešto promjeni?
Mnogi danjašnji gay momci, ali i odrasle osobe žive tuđim nametnutim životim, sputavajući sopstvene želje i nadanja. Oženjeni, profesionalno ispunjeni, sa prijateljima koji ih okružuju prožive ćitav jedan život na kraju kojeg ostaju prazni.
Jedan moj prijatelj koji će uskoro napuniti 60 godina priznao mi je da se osjeća prazno, neispunjeno i emotivno osakaćen. Dok je bio mlad skakao je kao sumanut od jednog do drugog muškarca i ponekad zalutao do neke cure. Onako izrazito zgodan, snažnog muškog izgleda uživao je u čarima seksa i dobrog provoda ne primjećujući da vrijeme čini svoje i nemilosrdno ga izbacuje iz filma u kojem je živio.
Da li je kasno da tu nešto promjeni i ljude počne da posmatra kao osobe sa kojim bi trebalo podijeliti nešto više od kurca i dupeta?
Inače ovaj film sve do nedavno nije mogao biti dostupan širem auditorijumu jer nije bilo distributera koji bi htjeli distribuirati film po kinima. Konačno Starz Digital je potpisao ugovor i film je počeo sa prikazivanjem 17.juna ove godine.
In “Boulevard,” a middle-aged married man picks up a gay hustler on the Nashville street where hookers hang out, pays the kid for company instead of sex, and ever-so-gradually begins to confront the secret identity he’s suppressed for so long. Knowing that man is played by Robin Williams (in morose rather than manic mode) tells you everything you need to know about the film, which is well written, acted and directed, and yet somehow never manages to surprise. That approach has its advantages, however, making the unfulfilled character’s sexuality almost secondary to the ways in which straight audiences can relate.
As best friend Winston (Bob Odenkirk) puts it in the film, “Maybe it’s never too late to start living the life you really want” — an optimistic philosophy that may as well be the mantra for a project director Dito Montiel (“A Guide to Recognizing Your Saints”) felt compelled to make after his parents split up late in life. Though some might assume the window to begin a new relationship would have already closed for singles in their 60s, such stories aren’t uncommon. In many respects, the true challenge is finding the courage to break free of the familiar routine that holds one back, which is certainly the case for Williams’ character, Nolan Mack.
Nolan leads a comfortable life. He works a demanding yet unexceptional job at a Nashville bank, and shares his home with an exceptional yet undemanding wife, Joy (Kathy Baker), with whom he splits the domestic tasks each day before the two split up and find their way to separate bedrooms at night. These two are a bit older than the couple in “American Beauty,” but one needn’t look much closer to detect that something’s missing in their marriage.
By now, Williams is such a pro at playing forlorn souls saddled with heavy baggage, Monteil doesn’t even need to show said baggage via flashback (which makes Nolan’s monologue to his bedridden dad all the more unnecessary). Still, this is one of the kindest characters Williams has ever played, which makes his self-imposed turmoil — the consequence of not wanting to hurt anyone, least of all his wife — all the more tragic. Tapping into that same loneliness felt in “One Hour Photo” and “Good Will Hunting,” the actor projects a regret so deep and identifiable, viewers should have no trouble connecting it to whatever is missing in their own lives — whether those regrets are romantic, sexual, professional or spiritual.
Returning home from a visit to his father in the retirement home one night, Nolan upsets his routine with a rare impulsive decision. He’s driven by the streetwalkers who line the boulevard countless times without ever so much as acknowledging them. Now, for some reason, he pulls up alongside them, clearly trying to muster the courage to speak to one of them when a young man steps in front of his car. Despite his tawdry profession and strung-out look, Leo (Roberto Aguire) may as well be an angel fallen from heaven, and Nolan accepts the offer to give him a ride without ever collecting on the implied double entendre.
For Leo, the relationship would be easier if it were physical. He doesn’t know how to interpret Nolan’s interest, which doesn’t seem to be sexual. It’s as if a lifelong vegetarian had suddenly walked into a steakhouse, and instead of ordering dinner, merely wanted to admire the meat. His appetite in check, Nolan’s instinct is to be protective: He offers to pay more than Leo asks for his company, and invites him on a date to the nicest restaurant he knows, where he runs into his boss (Henry Haggard) but salvages the situation with a bad lie (rather than re-creating the double-duty setpiece from “Mrs. Doubtfire”). He even intercedes in a fight with Nolan’s pimp, resulting in a tough-to-explain black eye.
Nolan has been even-keeled for so long that no one is fooled when he denies that something’s going on, though no one would expect the truth, either — well, almost no one, though that piercing revelation is the pic’s lone twist. The rest is polite and accessible, patiently swept along by David Wittman’s sensitive score. The details (as in a lovely scene where we learn what the movie “Masculin feminin” means to the married couple) are precious in a film that trades specificity for tasteful relatability, but that’s what the assignment seems to demand, as “Boulevard” builds to a series of confrontations in which Nolan can no longer deny his passions and must instead choose the road not taken.
Source: Variety.com
Director: Panos H. Koutras
Writer: Panagiotis Evangelidis, Panos H. Koutras
Genre: Drama
Country: France
Language: Greek, Albanian
Duration: 134 min
Year: 2014
Stars: Kostas Nikouli, Nikos Gelia, Yannis Stankoglou
The film is a journey of two brothers, Danny (16 years old) and Odysseus (18 years old), who want to find their father. On their journey, the audiences will find the beauty of crystal clear love between brothers who just have a common goal of protecting each other, the always-seemed-to-appear-at-the-end love of human when contexts just make them stick together, and the undeniable power of time which reveals any truth as always implied in the saying: "what you sow you shall reap". However, the film does not push into that extreme but gives the audience a relaxed with smiling faces in some moments, not because it is pure humour, but because the pure truthful contents makes them smile satisfactorily.
Danny is a gay and kind of a naughty boy. But he is not naughty in a criminal and spoiled way. He is just childish and want to follow his dream, the dream of seeing his father who abandoned him and his brother long time ago. When his mother died, Danny is more motivated to find Odysseus and pushes him to seek the truth he has always wanted to. Doubtless, their journey is like an adventurous trip when they have little money and hardly any one to count on. Even if they do, things are just not easy for them because the nature of Danny is free and curious when Odysseus has his own dreams and determined. However, the love of Odysseus is a big love of brotherhood, and that makes Danny mature and this character evolves his action in a miraculous way.
In the end, Danny and Odysseus indeed finds their father. However, at that time, what is important? Or more exactly, what will be more imporant when their only purpose has been obtained? In an ironic but marvellous way, finding their father turns out to be a phrase in which audiences see as a theme for the developing pure love between brothers. Their father, as Odysseus said: "Maybe", is a reason, a motivation through which the boys have to take risks to see what their life is going to be…
At first, I think it is a gay love between brothers. I am wrong, and I am very happy for that wrongness because what I find is something huger, something the nature has defined and smartly selected. That is, there are many kinds of love, but its only nature, its unique root, comes from sacrifice, and time is an immortal and trustworthy witness who observes, gives all and may kill all.
Director: Sean Willis
Writers: Jason A. Rostovsky (as Jason Rostovsky) , Jason A. Rostovsky
Genre: Short movie
Country: USA
Language: English
Year: 2014
Duration: 15 min
Stars: Devon Graye, Derek Stusynski, Mary Mackey
Eden follows two young gay lovers, Adam and Everett, as they try to escape from the Eden institution before they are cured of being gay. With the help of Mary, a nurse haunted by her own past, they begin to execute their plan. But as time starts to run out, and Adam struggles with a darkness that has plagued him for some time, they start to lose hope of making it out untouched. But is the world outside all that different?
20 June 2015
Boulevard (First Look!)
Director: Dito Montiel
Writer: Douglas Soesbe
Genre: Drama
Country: USA
Year: 2014
Duration: 88 min
Stars: Robin Williams, Bob Odenkirk, Kathy Baker
Objavljen je trailer za Boulevard - poslednji film Robina Wiliamsa
Kultni Birdcage glumac Robin Wiliams je umro u avgustu prošle godine, samo nekoliko sedmica nakon završetka njegovog poslednjeg filma Boulevard.
Drama u kojoj Robin Wiliams glumi oženjenog mušakrca koji se zaljubljuje u gay prostituku nije mogla naći distributera i sve do nedavno nije bila dostupna za gledanje širem auditorijumu.
Međutim, nakon dogovora sa Starz Digital, film je konačno dospijo u kinima 17. juna - gotovo godinu dana nakon njegove smrti.
Wiliams igra 60- godišnjeg bankara čiji se život drastično mjenja nakon što upozna mladu mušku kurvu.
WIliams je nastupio kao Armand Goldman u filmu Birdcage u kojem pokušava sakriti svoju seksualnost od roditelja žene svog zakonitog sina.
Dobio je Oscara za ulogu u filmu Good WIll Hunting, a takođe je poznat po svojim ulogama u Dead Poets Society i Good Morning Vietnam.
A trailer has been released for Boulevard – the last film completed starring late actor Robin Williams.
The iconic Birdcage actor died by suicide in August last year, just weeks after the film Boulevard was shown to positive reviews at Tribeca Film Festival in New York.
The drama, which sees Robin Williams play a married man who falls in love with a gay prostitute, struggled to find a distributor to bring it to cinemas – and has remained unreleased ever since.
However, following a deal with Starz Digital, the film will finally make it to cinemas on July 17 – nearly a year on from his passing.
Ahead of the limited cinematic release, the first trailer for the film has today been released.
The synopsis bills Boulevard as the final film to be released featuring Williams – describing his character as a closeted 60 year-old bank employee – whose life changes in unexpected ways after recklessly picking up a young male hustler.
Williams starred as Armand Goldman in 1996 comedy classic The Birdcage, in which Williams’ character attempts to hide his sexuality from his in-laws.
He won an Oscar for his role in Good Will Hunting, and was also famous for his roles in Dead Poets Society and Good Morning Vietnam.
The star also voices a minor character for film Absolutely Anything, which is billed as his final voice-acting performance.
From Notwithstanding Productions comes "getting it wrong." Shane (Justin Ayer), a 20-something gay man living in NYC, can't seem to get anything right. Through sloppy mistakes, hilarious misunderstandings and dating woes, Shane discovers how hard it is to survive in the big city. Follow getting it wrong and see if Shane will ever learn how to get it right.
FAWNS from Thanasis Tsimpinis on Vimeo Greektv.com Fawns is a very particular short film that balances between sensation and sensibility, innocence and loss, love and pain. It is rare to find a short film that encapsulates so many emotions in its small form and it still leaves you asking for more! The film was a Vimeo Staff Pick during St Valentine’s week, it won a Best Cinematography Award in the 20th Athens International Film Festival and it is already featured in numerous international online magazines, gaining a lot of attention for its director.
The Last Straight Man (2014)
Director: Mark Bessenger
Writer: Mark Bessenger
Genre: Romance, Drama
Country: USA
Language: English
Duration:110 min
Year: 2014
Site: Facebook
Stars: Mark Cirillo, Scott Sell, David Alanson Bradberry
“The Last Straight Man” spada u klasičnu gay-str8 romansu sa srećnim krajem. Kada dva najbolja druga (Lewis i Cooper) ostanu sami nakon lude momačke večeri odluče da popiju po još neku tekilu i zabave se. Cooper koji se sutra ženi postavi pravilo od tri pitanja na koja moraju najiskrenije odgovoriti. Pitanja se ređaju, koje ti je najluđe seksualno iskustvo, kako je izgledalo tvoje najšokantnije iskustvo itd
Kada Lewis odgovori da je njegovo najčudnije i najšokantnije iskustvo bilo kada je popušio kurac nekom liku Cooper postaje znatiželjan.
Ovakvih filmova smo već gledali ranije, a najsličniji je filmu The One. Romanse sa oženjenim muškarcem koji pokušava da održi svoj brak i pored jasnih emocija prema drugom muškarcu obično imaju nesretan kraj, ali u ovom filmu na svu sreću to nije slučaj.
U ovom filmu ima dosta komičnih situacija na koje će te se slatko nasmijati, a neke od njih će vas sigurno podsjetiti na sopstvena iskustva, Počev od onih zadivljenih pogleda kada je vaš drug ugledao poprilično veliki kurac pa do prvog primanja kite, uz obavezno trčanje u WC da se ispere sva gadost koja nastaje ako se niste dobro oprali.
Ono što mi je simpatično u ovom filmu je apsolutno česta pojava da nesigurni strejt mora prvo dobro da poopije kako bi se opustio.
Lewis i Cooper se viđaju jednom godišnje u hotelskoj sobi u kojoj je Cooper prvi put popušio kitu drugu kojji je u njega bio potajno zaljubljen.
Nemojte očekivati neku savršenu glumu ovo je ipak niskobudžetni film. I pored toga će te se lijepo zabaviti gledajući zgodne prijatelje u često provokativnim seksualnim i neseksualnim scenama kojima je suđeno da budu jedan uz drugog.
Sadness, heartbreak & regret permeates "The Last Straight Man" by sinnerofcinema (United States) – IMDB
A very involving film from filmmaker Mark Bessenger, "The Last Man" standing is a therapeutic treat for anyone who's been involved in truncated relationships. From the outset, both leading men are aware of their feelings for one another. Lewis (Mark Cirillo) is a closeted man throwing a bachelor party for his straight best friend and secret crush, Cooper (Scott Sell). However, they also realize their relationship is doomed due to to the marital circumstance surrounding Cooper. Emotions run high as both men agree to schedule a yearly one night stand reprieve from the grind of life. During this interlude they are both allowed to ask three intimate questions to be answered as truthfully and as authentically as possible. That opportunity allows both lead characters to exchange confessions on their true feelings in addition to giving each other the needed updates they crave just to see where their relationship stands. You would think that Lewis is unilaterally suffering through the bulk of heartache this unrequited love situation is generating. However, much suffering is to be had by Cooper who is torn between his family and his real belated love found for Lewis. This is the type of love that has grown so out of bounds, Cooper does not know how to deal with his emotions.
The beauty of this film lies in what is not said. Both Lewis and Cooper are deeply in love and their non verbal exchange speaks volumes. Their jokes fall flat whenever they come close to addressing their real feelings forcing one or both to change the subject.
"May your hair never fall, your dick always rise and your kids never call your brother-in-law daddy" is only one of the many witty dialogue shared by both Cooper and Lewis in what may seem at times to be funny banter translate into the men trying their hardest to convey their deepest sentiments. Their language, muddled by the restrictive code of silence men as a species have been known to observe in order to preserved the stereotypical macho front, is made to cover any an all possible honest feelings that may withdraw true emotion leading to a defensiveness that would expose and possibly lead to the outpouring of one's authentic self.
In the form of a visual collage, the film skips to several progressive life events as both men evolve with the passage of time. As the men age w life experience, so does their love, affection and understanding of each other, which only seems to grow stronger with time, until Lewis realizes that at some point he has to be the better man and do the right thing for the benefit of Cooper's family. Such selflessness is what makes Lewis a likable character. He's always the reasonable one, where Cooper just wants to take their opportunity to let loose, and be who he really is. During their exchange of emotion in the bedroom, you can't help but to feel the plight and internal struggle they both face, but it is Lewis, who most of the times seems to be relegated to make the difficult choices.
Production values are satisfactory for this digital production. However, at times misplaced music becomes distracting in some very key moments that demand full attention for the words being exchanged between the two leads. Performances are courageous and engaging as both actors flawlessly perform with due diligence even during scenes of pervasive nudity and very explicit sexual situations. Kudos to Mark Cirillo & Scott Sell who create admirable performances, and also for their bravery in choosing to stay true to the story with some very demanding and at times difficult moments both leading men share as they emote during their intimacy.
"The Last Straight Man" is a delight of a film, with an involved story that will leave you pondering on many underlying themes dealing with the way men express themselves and treat each other, and how not knowing to express true feelings can have long term and irreversible consequences on a life that should have been with the one.
BASED ON REALLY REAL EVENTS
Once upon a time... a little gay boy had a very big crush on a straight boy.. try as he might he couldnt get the straight boy to notice him.. so he cooked up a magical potion that turned everyone who drank it GAY... well they wouldnt automatically turn gay thats just stupid and makes no sense.. first they seizure like a vagina in heat... and THEN they turn gay
Before little gay boy knew it.. the virus was spreading faster than the legs of those cheerleaders he couldnt compete with... cute boys from all over the world were turning gay... and just when he thought this gay zombie apocalypse couldnt get any better... the straight boy that started this whole mess turned gay too and they road off into the sunset... and kissed a lot and made babies... real ones... and they lived happily ever after
℗ 2013 Bubbleseb Entertainment Inc
Director: Stefan Haupt
Writers: Stefan Haupt (screenplay), Christian Felix (screenplay), Urs Frey, Ivan Madeo, Sabine Pochhammer
Genres: Documentary, Biography, Drama
Country: Switzerland
Language: Swiss German, German, French
Year: 2014
Duration: 102 min
Stars: Matthias Hungerbühler, Sven Schelker, Anatole Taubman, Marianne Sägebrecht, Stefan Witschi
Stefan Haupt potpisuje režiju i scenarij filma čija se radnja odvija 1958. godine u Zurichu.
Stidljivi, mladi nastavnik Ernst Ostertag zaljubljuje se u cross-dressersku zvijezdu Robija, no iako su istospolni odnosi bili legalni u to doba u Švicarskoj, bila je potrebna određena diskrecija. Oboje su bili članovi organizacije Der Krajs“ („Der Kreis“) koja je organizovala događaje za gej muškarce u nekom polutajnom istoimenom klubu, izdavala gej časopis i bavila se gej aktivizmom prikladnim za to doba. No nakon nekoliko ubistava koja su se dogodila u gej zajednici policija je počela raditi probleme – prekidati događaje, privoditi nedužne osobe i praviti spiskove gej osoba.Uz neviđeno maltretiranje gejeva raspadali su se brakovi, dešavala samoubistva, otkazi sa posla...
Ovaj film prati razvitak situacije oko "Kruga" tokom tih dešavanja te daje dokumentarni presjek borbe za LGBTIQ prava. Film je ovjenčan dvjema nagradama na Berlinaleu 2014. godine – osvojio je nagradu Teddy, kao i nagradu publike Panorama. Dobitnik je i mnoštva nagrada na raznim festivalim gej filma.
Stephan Haupt rođen je u Zurichu te od 1989. godine radi kao filmski reditelj nakon završetka Dramske akademije te je istaknuta ličnost na švajcarskoj filmskoj sceni.
Film me je na neki način podsjetio na događaje u Beogradu početkom 90-tih godina. U sred balkanskog rata u kojem se krvavo raspadala Jugoslavija u Beogradu su u kojekakvim podrumima ili u iznajmljenim lokalima nicali gej barovi i klubovi. Među prvim je bio otvoren bar "Farma", a nakon toga su se počeli ređati "Prestige" , Xl itd.
Uz obaveznu gej frendly muziku i gomilu turbo folka, mladi ali i stariji pederi su vikendom mogli sebi priuštiti da budu preponosni, uobraženi, ženstveni, drski i naravno sebi važni u tom prilično dekadentnom vremenu.
Danas ti klubovi izgledaju sasvim drugačije, uz obavezne dark sobe u kojima se zamračene persone otimaju oko parčeta kurca, uz tematske večeri dešavaju i stvari koje su odraz kulturološkog miljea u kojem živimo. Mada istini za volju, performase kabaretskog tipa zamjenili su razni striperi i glatki dečkići koji se suludo vrte oko neke šipke u nadi da će ih zgrabiti neki alfa mužjak ako već ne može neki prebogati princ.
The true-life gay-rights battle at the heart of “The Circle” is an unusual, underexposed one that merits either substantial documentary or riveting narrative treatment, so one can hardly blame practiced docu helmer Stefan Haupt for attempting to have it both ways. In telling the story of a shy young teacher and his drag-artist lover caught in the shifting social currents of 1950s Zurich, Haupt has chosen to stage proceedings mostly as handsomely mounted period drama, interspersed with present-day talking heads that include the now-septuagenarian protagonists themselves. The results, while never less than compelling, are predictably uneven: Affecting in themselves, the talking heads come to play as interruptions, holding the narrative back from deeper historical scrutiny. Still, its unconventional construction — and multiple Berlinale prizes — will make this an attractive option to LGBT-friendly fests and distribs.
Whatever their aesthetic limitations, the documentary interludes prevent “The Circle” from playing entirely as a period piece, which makes sense given the still-burning political currency of its subject matter. Would that its impressions of homosexual persecution and censorship in Europe half a century ago were more dated than recent events in Russia and Uganda make them seem.
The back-and-forth over Proposition 8 in California also comes to mind in a study of rights permitted before being retracted. In the wake of WWII, Switzerland was viewed as something of a safe haven for gay men, with no laws denying them sexual or social activity. Gay clubs flourished happily, notably the eponymous Circle, a “self-help organization” for gay intellectual and bohemian types, founded in 1942 by actor Karl Meier, that also published a multilingual, frequently provocative magazine. It’s at a Circle ball in the mid-1950s that naive literature teacher Ernst Ostertag (Matthias Hungerbuehler) becomes smitten with 18-year-old barber and moonlighting transvestite Robi Rapp (Sven Schelker), and the two fall swiftly into a profoundly affectionate relationship.
The present-day footage of the still-besotted Ernst and Robi — the film opens with the latter performing one of his signature drag numbers with creaky gusto — means the outcome of the film’s personal narrative is never in doubt. (Indeed, their romance dovetails nicely with a closing message celebrating the contemporary legalization of gay marriage.)
But there’s plenty of external tension elsewhere, as a spate of brutal murders within the gay community lead the authorities to an about-face on their once-liberal attitude to same-sex behavior. When the Circle’s income-generating socials are declared illegal in 1960, with the police placing increasing pressure on its leaders to reveal the personal details of all members, the organization becomes impossible to maintain. Surprisingly, it’s the formerly cautious Ernst who persists with dangerous acts of activism against the will of the more domestically inclined Robi. Their romance is sweetly articulated by the subjects and actors alike, but is most gripping as a catalyst for Ernst’s own self-acceptance and political awakening.
Even when the stakes are at their highest, there’s a gentle tone to the dramatic proceedings that is unexpected but not unwelcome — Haupt’s emphasis throughout is on the benevolent, supportive virtues of the gay community, even at its most threatened and compromised. (Though Ernst’s coming-out process was a long-term one, there’s refreshingly little angst in this department; Marianne Sagrebrecht is delightful as Robi’s sage, thoroughly accepting mother.) That prevailing tenderness is also suggested by Tobias Dengler’s softly burnished lensing and Federico Bettini’s pretty, mildly over-sugared score.
The opportunity for harder tonal contrast provided by the film’s documentary portions, however, go largely untaken: The testimonies of the elderly lovers are touching, but don’t reveal many circumstantial details or emotional nuances beyond those played by the capable, appealing leads. Other, more academic talking heads add little; at a tidy 100 minutes, the film’s portrayal of the Circle’s complex, intriguing social network could easily have been fleshed out at their expense.
Situations like this do happen in real life but it's difficult to relate them in film - especially in the short format - without them seeming twee. There's not much to distinguish Leandro Tadashi's short in terms of plot; the background presents us with a house party that has a swimming pool and a band, quite unlikely in real life but an accepted part of the world of teen cinema - and of course, there's not an adult in sight.
Un Mostro Chiamato Ignoranza (2014)
Love in the Time of Civil War (2014)
En el mismo equipo (2014)
The iconic Birdcage actor died by suicide in August last year, just weeks after the film Boulevard was shown to positive reviews at Tribeca Film Festival in New York.
