Director: Ryan Shiraki Scenario: Ryan Shiraki Genre: Comedy, Romance Country: USA Year: 2004 Duration: 92 min Rating: 4.8/10
Actors: Sam Huntington, Marla Sokoloff, Mike Erwin, Heather Matarazzo, Kaitlin Doubleday, Bryce Johnson, Jud Tylor, John Goodman, Rachel Dratch, Mark Abney, Dicky Barrett, Jonathan Watts Bell, Palma Botterell, Skylar Duhe, Antonio Echeverria, Meagen Fay, Shannon Floyd, Loren Kinsella, Rachel Klein, Sherri Marina, Murphy Martin, Mark McLachlan, Jeffrey Muller, Michael Osborne, Mary Payne, Michael Salinas, Ashley Sherman
Ovaj film se baš i ne može svrstati u gay themed movies iako je tokom cjelog trajanja filma u centru pažnje jedan momak koji se pretvara da je gay. U samom startu film je za prosiječnog pedera postavljen naopako! Str8 koji se pretvara da je gay je nešto što će svaki prosječno iskusan peder razotkriti! Još ako je taj strejter zgodan i privlačan za pet munuta istina izlazi na vidjelo.
Teže je pronaći pedersku skrivenu stranu kod “str8” čovjeka, nego ovo. Ali ako zanemarimo ovu lošu predpostavku, film se može pogledati i u porodičnom ambijentu, jer vašeg punoljetnog sina i momka sigurno neće zatrovati bezobraznom golotinjom muških tijela.
Priča se odvija u gužvi studentskog života u nekom od američkih univerziteta ili ti sveučilišta kako je meni draže reći, jer tu se zaista svašta može naučiti. Iako sam prošao kroz sve faze studentskog načina života, zaista nisam nikada primjetio da postoje tu muški ili ženski klanovi kao u ovim američkim filmovima. A baš bih volio da tako nešto ima kod nas, stim da bih ja morao biti vođa!:) U tako jednom ženskom klanu zgodni djevojčurak dobije zadatak da slomije srce nekom pederu. Nesrečnim slučajem naletu na nespretnog momka koji u želji da je osvoji izrekne čuvenu rečenicu:”Ja sam gay!”
I nakon toga mora da prođe kroz sva sranja koja se dešavaju pederu koji uleti u coming out!
Obilje simpatičnih i smješnih scena u kojima se nesretni mladić našao i po svoj prilici neobično dobro snašao učiniće da vam ovaj film ugodno utroši oko sat i po vremena.
Mene je podsjetio na moju omiljenu zabavu: “kako u str8 momku otkriti gay stranu i ukazatu mu na nju! ?”
Nakon što sam završio fakultet zaposlio sam se i naravno iznajmio stan koji sam dijelio sa cimerom kojeg sam zvao “ljubavi moja” Pošto on zaista nije peder lako je prihvatio moju zajebanciju i kada god smo bili sami zajebavali smo se kao da smo najzaljubljeniji par. Jednom prilikom mi je rekao da koliko god se mi zajebavali na taj račun , da me zaista iskreno voli i da bi volio da ima curu koju će voljeti kao i mene! Nakom jedno godinu dana našao je!
A Regent Entertainment release of an Element Films presentation of a Greenblatt-Janollari Studios/Persistent Entertainment production in association with LIFT Prods. Produced by Adam Rosenfelt, Dan Halsted, Judd Payne, Matthew Rhodes, Malcolm Petal. Executive producers, Robert Greenblatt, David Janollari, Sam Nazarian. Co-producers, Marc Schaberg, Randy Winograd. Directed, written by Ryan Shiraki.
Clay - Sam Huntington Marjorie - Marla Sokoloff Matt - Mike Erwin Jessica - Heather Matarazzo Amanda - Kaitlin Doubleday Tazwell - Bryce Johnson Serena - Jud Tylor Very Drunk Chick - Rachel Dratch Rodney - John Goodman
With intermittently amusing glee, writer-director Ryan Shiraki's tyro film, "Freshman Orientation," frolics through the political minefields of a typical college campus. Pic's straight hero, a foolhardy college dude, reckons he'll play along with a cute gal's false assumption that he's gay, leading to a politically incorrect but ultimately exhausted social satire on sexual and social expectations. Distrib Regent may try to target gay auds, but could find resistance, given the pic's guy-gets-girl happy ending. Broader marketing pitch in vid may be able to grab a hungry college crowd.
Clay (Sam Huntington) views college life as one long sexual adventure before his boring adult years, but he soon finds that picking up chicks isn't exactly like walking through the produce section. When his first roomie accidentally kicks the bucket, he enlists the far more subdued Matt (Mike Erwin) as his new companion, while fending off the verbal slings of ex-g.f. and current lesbian punkette Marjorie (Marla Sokoloff).
Shiraki's script cleverly dovetails Clay's interest in sorority gal Amanda (Kaitlin Doubleday) with Amanda's mission -- arranged by mega-bitchy sorority leader Serena (Jud Tylor) -- to woo and then dump various "loser" guys. Amanda's target candidate is supposed to be gay, and through a comic mixup stirred by Amanda's potty-mouthed pal Jessica (Heather Matarazzo), Amanda mistakenly believes Clay fits the bill. Sensing a choice opportunity to get cozy with this hottie, Clay plays along and seriously gets into his new persona. Pic good-naturedly follows Clay through his somewhat unsentimental gay education, greatly boosted by jolly gay barkeep Rodney (John Goodman, having a fine old time in colorful support).
But the comedy starts sputtering as the truth about Clay's sexual preference and Amanda's ruse surface. It's as if Shiraki ran out of ideas and hoped his cast would carry things. Pic lurches from incident to incident, leading to a silly knock-down-drag-out between the college radicals and conservative Greeks, with a final section that's thoroughly out of fuel.
Huntington displays a real eye and ear for funny timing and behavior, and charms with a bad-boy glint. As a confused young man who comes out of the closet, Erwin's Matt sometimes feels as if he's walked in from another movie, while Sokoloff and Matarazzo have a ball with their zinger lines. Playing the aptly named Very Drunk Chick, Rachel Dratch is a lot less funny than she usually is, but proves that she's a comic thesp with no shame. Production package mimics the bright look of studio teen and college comedies, but at a noticeably lower pricetag. Music selections abound in cleverness, ranging from re-dos of Janis Ian to Britney Spears.
Director: Tom Gustafson Scenario: Tom Gustafson, Cory James Krueckeberg Genre: Adventure, Fantasy, Musical, Romance Country: USA Year: 2008 Duration: 95 min Rating: 7.8/10
Actors: Tanner Cohen, Wendy Robie, Judy McLane, Zelda Williams, Jill Larson, Ricky Goldman, Nathaniel David Becker, Christian Stolte, David Darlow, Parker Croft, Brad Bukauskas, Reid Dawson, Alexander Aguilar, Yoni Solomon, Colleen Skemp
Description:
Nisam siguran da je ovaj tip filmova san današnjeg prosječnog tinejdžera, više mi nekako liči na snove tinejđera 70-tih godina. Kako god bilo, onim romantičarima koji sanjaju o svom najboljem drugu, a ne smiju mu to reći, mjuzikl Where the world mine bi mogao oslikati san. Negdje sam već gledao neku skraćenu verziju ovog filma, al nisam bio baš nešto oduševljen. Možda je samo bio loš trenutak ili naprosto nisam bio raspoložen za mjuzikl o tim dječačkim snovima. Neki klinac mi jednom reče kako bi volio da živi sa nekim kao što to žive njegovi roditelji. Pitao sam ga da mi opiše kako to zamišlja i on mi ispriča čitavu jednu bajku kakvu može da sastavi samo romantičar kao on! Na kraju te priče samo sam mu rekao :" Probudi se mali! Život se ne živi u bajkama!"
The phenomenon of teen musicals - beloved by actual teens - is a little perplexing. There is just nothing ... cool ... about breaking into song and dance routines in daily life. Disney's "High School Musical" juggernaut and the popularity of the stage show and film version of "Hairspray" have brought more attention to the teen-centered Broadway hit "Spring Awakening," which will be made into a film as well.
"Were the World Mine" follows the teen musical formula but renders its material with admirable lushness and intelligence. It was a hit as an indie short film on the film festival circuit before director and writer Tom Gustafson turned it into a full-length musical, so irony and self-referral humor are written into its DNA.
"Were the World Mine" tells the story of out gay teenager Timothy (Tanner Cohen), who is attending a boys' private school. He is hazed repeatedly and ruthlessly by his homophobic classmates, but he survives by escaping into fantasy (here come the musical sequences) - mostly, fantasizing about the extremely cute Jonathon (Nathaniel David Becker). He also has to deal with his struggling mother (Judy McLane) and friends Frankie (Zelda Williams, daughter of Robin) and Max (Ricky Goldman).
Life changes abruptly for Timothy when, after being cast as Puck in the school production of "A Midsummer Night's Dream" by his slightly batty drama teacher (played by "Twin Peaks" actress Wendy Robie), he finds a secret recipe embedded in Shakespeare's famous farce. Timothy, like Puck, has the ability to make people fall in love with the first person they see. Should he use it?
Well, it wouldn't be much of a movie if he didn't. As the action unfolds, with dazzling color and crisp choreography, the homophobic boys get the lesson of their lives.
The weakest part of the movie, besides some rather drawn-out plot machinations, is the musical aspect. The tunes just aren't catchy enough to linger or clever enough to stand in for dialogue. It's a welcome addition to the cavalcade of teen-focused musicals, but like a midsummer night's dream, can hardly be remembered the next day.
-- Advisory: Boys kiss boys often in this film, but nothing truly shocking.
Director: Aleksandr Sokurov Scenario: Sergei Potepalov Genre: Drama Country: Russia, Germany, Italy, Netherlands Year: 2003 Duration: 83 min (Cannes Film Festival) | Russia:97 min | USA:82 min (Wellspring DVD) Rating: 6.5/10
Actors: Andrei Shchetinin, Aleksei Nejmyshev, Aleksandr Razbash, Fyodor Lavrov, Marina Zasukhina, Anna Aleksakhina, Jaime Freitas, Joăo Gonçalves
Description:
Nisam psiholog, ali definitivno ne razumijem porijeklo mnogih priča dad-son. ČMnogi pederi na chatovima ili u nekoj drugoj komunikaciji kažu da ih ne privlače mladići već samo stariji ljudi. Imam jednog prijatelja, koji ima oko 22 godine i koga privlače samo oni preko 40 godina. Za mene je rekao da mu izgledam nekako mladoliko pa sam ga zamolio da mi nikada ne daje kompliment da dobro izgledam. Al nije jedini koji voli samo dosta starije. Neznam zašto je to tako jer mene je u mladosti sve privlačilo. I mladji i stariji i žene i muškarci. Naprosto radoznalost me je pokretala u svim pravcima.
Ono što je ključno u privlačnosti starijeg muškarca je definitivno pouzdanost, sigurnost, snaga, karakter i postojanost. Zaštitnički, često dominantan odnos koji pruža stariji muškarac je ono što kod klinaca nikada ne možete dobiti. Sve u svemu sve to razumjem jer i mene privlače uglavnom stariji muškarci mada u zadnje vrijeme često imam seks i sa mladjima što mi se nije dešavalo ranije. Ono što ne razumijem je incestualna mašta koja se proteže kroz mnoge romane, filmove, stripove, predstave...
Da li je možda nedostatak očeve ljubavi uzrok homoseksualnosti, ili predominantnost majke? Na žalost ja to jedva da razumijem. Prirodan odnos je da se dijeca u jednom periodu odrastanja poistovjećuju sa ocem, a kasnije prolaze kroz lavirint tražeći sopstveni identitet. Ova priča nam nudi malo drugačiju perspektivu tog odrastanja. Ruski režiser Alexander Sokurov nam nudi malo drugačije viđenje odnosa između oca (Andrei Shchetinin) i sina (Aleksei Nejmyshev), priču koja je na ivici ljubavne romanse. Obrnuti redoslijed gdje se otac u jednom trenutku poistovjećuje sa sinom.
Film počinje erotičnom skoro incestualnom scenom gdje otac i sin pričaju o snu u kojem je sin sam negdje, go bez ičega na sebi. Otac ga pita jesam li ja pored tebe , on kaže , ne ja sam sam, na nekom putu! Jasno razumljiva simbolika potrebe da se sam odredi kojim putem treba da ide. Priča je puna napetosti, strepnji i strahova. Kroz dijaloge oca i sina na krovu nekog stana negdje jako visoko izmješale su mi se silne emocije uzbuđenja, napetosti pa na kraju i straha da neko ne padne sa tog krova po kojem skaču kao da su na nekoj livadi. Moto ove priče je iskazan kroz riječi sina: "Očeva ljubav je krst. Voljeni sin dopušta da bude razapet." Emocionalna zamka u koju su upali nije prekinula put kojim se treba ići, ali je definitivno izazvala nedumice i strahove od samoće kod oca. Kada sin treba da se okrene sebi i ode da živi u drugi grad, otac se našao u strahu od samoće. Sin razapet između potrebe da bude sa ocem i potrebe da nastavi svojim putem u jednom trenutku pozove druga i kaže: " On je moj otac, a ovo je moj drug, ja ga jako volim!", ostavljajući bez teksta Oca jednako kao i gledaoce. Prirodan kraj ove skoro nestvarne romance.
Film je prepun imaginarnih slika koje se spajaju u jednu skoro mitološku priču o opterećujuće jakoj ljubavi oca i sina. Inaće kroz film se konstanto provlači neka jedva vidljiva homoerotičnost, koja nas obasipa od početka do kraja priče. Zaista majstorski urađeno! Ukoliko želite da se upoznate sa fantastičnom trilogijom Andrei Shchetinina, pogledajte filmove "Russian Ark" i "Mother and Son" koji predhode ovom filmu.
Eto toliko o filmu, bolje da ga odgledate sami nego u društvu. Neke stvari koje ova priča može pokrenuti u vama naprosto nisu za podijeliti sa bilo kim!
Sokurov's From Russia With Man-Love By Fernando F. Croce
In this age when the media's interest in homosexuality scarcely extends beyond queer-eye, is-he-or-isn't-he winks, it's no surprise that so many critics have tried to pigeonholed Father and Son as a "gay movie," much to the irritation of its creator, Russian director Alexander Sokurov. (Repeatedly asked about his latest effort's alleged homoeroticism last year at Cannes, he reportedly tsk-tsked a roomful of journalists on how dirty-minded their side of the globe has become.) Either way, the label has stuck (it had its first U.S. showing at the Boston Gay and Lesbian Film Festival last May), but the film is hardly a queer work in the sense that pictures by Fassbinder, Warhol or Jarman are queer works, though those artists' influence is apparent in the first shot: heavy breathing against a black screen, followed by close shots of intertwined, sinewy male limbs.
The opening suggests man-love, though its eroticism is spiritual -- the Father (Andrey Schetinin) comforts his Son (Aleksey Neymyshev) after a nightmare, and Sokurov frames the sculptured bodies as soft-edged, amber-toned pietas, the first example of both the auteur's painterly visual style and his questioning of established notions of masculinity. Reductive as it may be, the gay interpretation is more than understandable -- ruggedly handsome Schetinin and teenage-dreamy Neymyshev are strapping specimens, photographed ethereally in all their shirtless splendor, gazing into each other's peepers and caressing each other's faces when not lifting weights on their building's rooftops. The film further fans the flames by grounding the sliver of a plot upon jealousy and separation anxiety, as the arrival of a bereft young buddy, left behind by his own dad, threatens to push Father and Son apart.
Sokurov's images of beautiful guys horsing around and exchanging bear hugs make people squirm because they present the eroticization of male flesh without the mediation of the female gaze, since the contemplation of male beauty in mainstream cinema can only be kosher after it's been filtered through a woman's eyes. Save for Neymyshev's duplicitous girlfriend, women are rarely seen in Father and Son, yet the film is the most feminized of Sokurov's works. Or, to be more exact, the one where such qualities as tenderness, grace and delicacy, normally filed by society under "feminine," are allowed to roam and bleed into such "masculine" ideals as virility, aggression, and stamina. Touch bridges the two. While the characters' energies find an acceptably "male" channel in the military touch exercises the Son participates in, the intimacy of feeling between the two men remains just as bound to an intense physicality that, through Sokurov's purist handling, strips the visuals of any prurience, straight or homo, and makes them exalted, the spiritual turned flesh, tangible.
It's fascinating to compare the film to Andrei Zvyagintsev's The Return, another Russian import also dealing with father-son relations. Zvyagintsev shares with Sokurov a painterly sensibility (the estranged father's first appearance sprawled in bed recalls Mantegna's Dead Christ) and a preoccupation with Nature (absent in Father and Son, except for glimpses in dreams), though his movie's boot-camp itinerary is far more conventional than Sokurov's, with the father's abusive behavior torturing his standoffish sons only to be sentimentally celebrated at the end. Looking back, I believe Zvyagintsev has a paternal relationship of his own to deal with, namely with Andrei Tarkovsky, that grand albatross wrapped around the neck of every young Russian artist. The Return is full of allusions to the late genius, and the characters' ambiguous relationship may mirror the director's with his ghostly father figure, with the movie a way of both acknowledging and exorcizing his presence. Equally mysterious but far more autonomous, Father and Son drenches its opacity in a depth of expression that lifts the familial relationship onto a cosmic plane.
Moviegoers who know Sokurov only from the crowd-pleasing technique of Russian Ark have no ideal what a demanding director he is. Though that picture's one-camera-movement-through-the-ages extravaganza forged a wondrous anti-montage statement that Hitchcock, Ophüls, Rossellini and Preminger would have killed for, the stunt flattened the complexities of both Russian history and the filmmaker's own art. Sokurov's follow-up is a return to the profound transcendentalism of Second Circle and Mother and Son (to which the new movie plays companion piece), works of overwhelming aural-visual emotion where the loss of a parent equals nothing less than the death of the world. Like those films, Father and Son challenges and maddens, its liquidity of image and thought dovetailing into the deepest well of emotion. "A father's love crucifies. A loving son lets himself be crucified," says Neymyshev, bringing the film's Biblical dimension to the fore. His later comment cuts even closer to the bone: "This is my father. And he is my friend. I love him very much." A statement of breathtaking simplicity in a film of breathtaking complexity.
Director: Antonio Hens Scenario: Antonio Hens Genre: Comedy, Short Country: Spain Year: 2000 Duration: 17 min Rating: 7.5/10
Actors: Israel Rodríguez, Pablo Puyol, Antonio Álamo, Juan Carlos Rubio, Juanma Lara, Concha Galán, Miguel Zurita, José Manuel Seda, Aníbal Soto, Juan Carlos Villanueva, Manuel Salas, Cuca Escribano, Rafael Salazar, Virginia Pérez, Julio San Juan
Description:
Dobro jutro, odavno nisam ništa pisao po blogu. Razlog nije taj da sam napstio blog nego jednostavno nemam vremena. Kako se primiče ljeto sve više posla imam, a sve manje vremena da gledam filmove. Sa druge strane ništa novo što bi bilo vrijedno komentirati nisam gledao. Zato sam malo vrtio stare filmove koje imam i listao druge blogove i sajtove u potrazi za nečim zanimljivim. Da budem iskren sve sam već ili gledao ili jednostavno ne znam zašto bi neki film stavljao na blog. Mnogi od njih jednostavno nisu gay tematike iako se nalaze po gay tematskim sajtovima.
Za jutros sam vam odabrao jedan kratki film od nekih 17-tak minuta. Film je iz kolekcije Boy Briefs 2 i zanimljiv je za pogledati. Govori o jednom tinejdžeru i njegovom pogledom na ljude oko sebe. On jednostavno zna šta oće, a često uradi i ponešto što neče! Sjećate li se tih vremena, kada ste uvijek gladni seksa i ljubavi trčali od jednog do drugog lika? Najčešća i uobičajena tinejdđerska pojava. Svestan svog izgleda i privlačnosti vješto manipuliše ljudima oko sebe, sve dok nije nagazio na minu i to u jednom tržnom centru u wc-u. Da bi sve bilo začinjeno o njegovim seksualnim afinitetima saznaju i njegovi roditelji i to od policije. Ipak krv nije voda, koliko god teško bilo prihvatićemo tu realnost i nakon svih ppočetnih muka pokušati da pomognemo rođenom djetetu, zar ne. A ljubavi dodju i prodju, sve dok ne nađemo neku koja nam se uvuče u svaki dio tijela i zauvjek ostane sa nama! Film ima titl na engleskom. Skinite ga OĐE ( baš mi je simpatično napisti to OĐE )
Doors Cut Down (one of the shorts on Boys Briefs 2) is about the adventures of Guillermo, a gay high school slut boy, in the mens room of the Shopping Mall in his neighborhood. Under Today's Laws for Films For and By Abused Homos, Doors Cut Down would end with Guillermo either dying of AIDs or him being beaten to death in a violent gang gay bashing. Fortunately, Doors Cut Down wasn't made by an American Homo, Doors Cut Down ends with Guillermo alive, healthy and happy roller blading through his neighborhood.
Doors Cut Down is one of the few GAY FILMS I've seen that presents a young gay guy as happy and having fun being gay. Guillermo is clearly a slut and a tad irresponsible, however, what young guy, gay or straight, isn't a slut and a tad irresponsible.
There is something very familiar looking about the actor who plays Guillermo, Israel Rodriguez. Israel appears to have done a lot of acting work.
There is a scene in the movie that reminds me of something one of the Bel Ami directors said about making gay adult movies, the directors said that Gay Guys are always harder to work with.
When Guillermo narrates how he picks up men, he says that the Gay Guys are always more difficult. There is a scene of Guillermo and an older Gay Guy and the guy is going on and on about how he doesn't hang out in mens rooms and about how he is looking for a relationship, this scene takes place in a stall in the mens room. Obviously, the Gay Guy comes off looking a tad silly saying that he is looking for a relationship when he is in a toilet stall with a high school kid.
The actor who plays Guillermo is very good, he has a perfect way of conveying being on the prowl without it looking sinister. There is a shot of Guillermo kissing his older boyfriend while simultaneously eying another guy to have sex with that is just too cute for words.
