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Hank (Richard Locke), a trucker, turns out new hire Joe on a long haul to the West Coast. The men masturbate together while on the road and participate in an all-male orgy at a truckers’ bunkhouse in Los Angeles. The film features several trucking related double-entendres such as “wide load”, “heavy load” and “men at work”.Read More »
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She’s gorgeous, she’s dangerous – and she sings! Male convenience store clerk by day, fabulous drag queen/ secret agent by night, Iron Pussy must yet again come to the rescue! In this feature-length reprise, award-winning Thai director Apichatpong Weerasethakul and writer Michael Shaowanasai (who also plays Iron Pussy) have created a spy-thriller-kung-fu-musical-western-forbidden-love story that, like our heroine, defies convention.Read More »
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A struggling actress forges an unusual family unit with two separate boyfriends in this romantic comedy from indie auteur Gregg Araki. Veronica (Kathleen Robertson) hasn’t had a decent date for a year, but one Halloween she meets not one but two perfect guys: Zed (Matt Keeslar), a rock drummer who does her on the floor of a club bathroom after his show, and Abel (Johnathon Schaech), an affable rock critic and would-be novelist, who seems more interested in connecting with her soul than her private parts. Unable to lie to either guy about her attraction to both of them, Veronica soon convinces them to share her. Eventually, the unemployed Zed and the underemployed Abel even move in with her, resulting in kinky sex and domestic bliss. Trouble comes calling, however, in the form of an unplanned pregnancy — and in the person of Ernest (Eric Mabius), an aptly named TV director, who gives Veronica her big break and the chance to play house and raise her child in a monied, more normal environment. Read More »
Berlin-based filmmaker Jochen Hick explores the long shadow left by Paragraph 175 in his fascinating documentary My Wonderful West Berlin (Mein Wunderbares West-Berlin)…
“Many victims died before the rehabilitation process started,” Hicks notes. “That is a very sad feeling, that Germany waited until most of them had passed away.”
Drawing on rare archival footage predominantly focusing on West Berlin’s gay male community from the 50s until the late 80s, the film illuminates a vibrant socio-political network that thrived despite police and political harassment. https://www.sbs.com.au/topics/sexuality/mardigras/article/2018/02/22/subverting-paragraph-175-queer-life-my-wonderful-west-berlinRead More »
IMDB:
This is not only the best dutch movie that I have ever seen, but one of the most moving movies that I have ever seen. Great picture of dutch society, on extraordinarily interesting people, full of great humor and sadness, and most importantly on life and death (parallel to the last two). This film is FULL in every way that a film should and can be. It is the heart-filling and heart-wrenching story of one of the most extraordinarily human lives (beautifully acted) ever put on film. It is about Simon, his fast life, his loved ones, and his chosen death. It is also about the truly free society, where all can choose their life and their death for themselves. It is a portrait of a culture of personal responsibility, love, and life that is so needed everywhere. It will make you think, laugh and cry. When and if you can, see this picture, you won’t be disappointed. It’s one of the greats.Read More »
Synopsis:
‘The film begins with a school teacher played by Javier Escriva bidding farewell to his students, who are leaving for the summer. As he is heading home he notices two of his students are hitch-hiking (a boy and a girl, played by John Moulder-Brown and Inma de Santis), and picks them up. He invites them over for dinner and lodging, which they accept. The majority of the film from this point on is set at the mansion, where the two students turn from guests to prisoners under the teacher’s command. The teacher has a thuggish (yet sensitive) henchman played by Simon Andreu, who enforces the teacher’s wishes. The teacher begins to sexually humiliate and torture the two students until he has mentally brainwashed them into his way of thinking […] Eventually there is a reversal of roles…’
– jlabineRead More »
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If Walt Disney, Todd Solondz, and David Lynch were to collaborate on a film, it might resemble Kuba Czekaj’s Baby Bump, a gruesome coming-of-age story that is never afraid to test the limits of cinema. Completely disregarded traditional filmmaking rules, the film finds its deranged cast interacting with its sarcastic quasi-narrator for a unique result.
It takes around ten minutes for Baby Bump to venture into immensely inappropriate territory, as a pre-teen girl offers to show a boy her “tits” in exchange for some marshmallows. The film only gets weirder and wilder from there, with Mickey House (Kacper Olszewski) trying and failing to grow up without horribly embarrassing himself. There isn’t much of a narrative. Instead, Baby Bump is comprised of a collection of somewhat intertwining scenes dealing with adolescence, body image, sexual identity, and mental health.Read More »
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Donald is a young man dying of AIDS. His lover, James, asks his mother to go to Fayetteville, Arkansas and tell Donald’s mother, who has been estranged from her son for years.Read More »
From Amos Vogel’s Film as a Subversive Art:
A high-camp “love story” of an outrageously handsome heroin junkie and his trash-scavenging girlfriend (played by a female impersonator), this film skips from fellatio to seduction to foot fetishism in its attacks on soap opera myths and Hollywood. A playful perversity, an acceptance of the soft underbelly of bourgeois society, a strange poignancy informs this fable of impotence, drugs, and sex. In the climactic love scene, the hero — remaining impotent — suggests to the lusting “girl” — reclining on a rumpled bed among objects gathered from garbage cans — that she use a beer bottle instead; she does, while he solicitously inquires whether she is coming, then holds her hand and promises to do better next time. In a second scene, she accuses him, in rage, of not even letting her “suck” him off. What with an antiwar Welfare worker revealed as a malignant foot fetishist, assorted females as sexual aggressors against the forever innocent male, drug-fixes or penises casually displayed, the mounting intrusions upon the viewers’ value system mark this as a truly seditious work.Read More »