Queer Cinema(s)

Treasure Island is an experimental, 16 mm black-and-white drama written, directed, and photographed by producer Scott King. The loosely constructed plot shows the private lives of two British code-crackers (Lance Baker and Nick Offerman) during WWII who decode letters and look for hidden meanings behind the words. As a counterintelligence ploy, they decide to drop a dead body off the coast of Japan before a discovered invasion. The film then turns to these men’s personal lives and the problems with the women they love, along with the secrets they hide.Read More »

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Ever-provocative and prolific Rosa von Praunheim takes on uniform fetishes, extreme-right skinheads, gays in the original Nazi leadership, and more in his latest docu, “Men, Heroes and Gay Nazis” somehow weaving it all together into a compelling look at the appeal of fascism — even to those who are its frequent victims. Beyond gay-fest travel, feature could score select offshore telecast and DVD deals.Read More »

This German documentary explores the history of hustler culture at Bahnhof Zoo train station, an unofficial meeting place for male prostitutes from the world over. The film discusses hustler world with male escorts both current and retired about their personal experiences, and discovers surprising undercurrents of strength and compassion. ~ Cammila CollarRead More »

Filmed on Fire Island, this two reel, 70 minute Warhol film covers the activities of the “Dial A Hustler” service, as an older man seeks a young hustler for a companion.Read More »

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Even though Pedro Almodóvar was a major creative force in blowing away the severity of the Franco years, his films – like “Women on the Verge of a Nervous Breakdown” – still caused shock-horror in the Spanish heartland. “Second Skin”, though by another director (Gerardo Vera), will almost certainly do likewise. Like Almodóvar, Gerardo Vera kicks aside the Catholic certainties of conservative Spain as he delineates the instability of a marriage, specifically caused by a husband who is torn between his wife and another man.Read More »

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A family man torn between the love for his family, the boundaries of religion and the freedom to choose whom to love.Read More »

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A witty and inventive gross-out comedy suggesting a synthesis of John Waters and Terry Gilliam, Martin Walz’s German film adapts Ralf Konig’s graphic comic about killer contraceptives unleashed in a diabolical plot to wipe out New York’s gay population. (Actually the condoms, which eviscerate or castrate their victims, make no distinctions when it comes to sexual orientation.) Luigi Mackeroni (Udo Samel), a gay Sicilian police detective, sets out to track down the source; in the movie’s longest running gag he’s one of the first victims, losing one of his testicles during a hotel tryst. Walz introduces some nice noir shadings (Luigi delivers the ironic voice-overs) and his camera placement is generally smart and revealing–especially in the thoroughly weird shots from the point of view of the condoms. Unfortunately, though, he can’t sustain the wonderful energy throughout the film. Killer Condom certainly isn’t for all tastes–at times it wasn’t for mine–but it’s impossible to walk away indifferent.Read More »

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Army of Lovers or Revolt of the Perverts (German: Armee der Liebenden oder Aufstand der Perversen) is a 1979 German documentary film directed by Rosa von Praunheim. The film, mainly shot in San Francisco, chronicles the rise of gay activism in the United States between 1972 and 1978 in the aftermath of the Stonewall riots and before the arrival of the AIDS epidemic. It explores, among other themes, the initial unity formed post-Stonewall era, splintered into numerous factions. The American gay liberation movement, strengthened by the assault of the Anita Bryant-led anti-gay initiatives, appears foundering into polarization and self-interest groups in an increasingly fractured leadership. The film discusses whether overt sexual expression and promiscuity were helping or hurting the cause of gay rights.Read More »

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Like fellow Dutchmen Paul Verhoeven and Jan De Bont, Rene Daalder was drafted by Hollywood to make genre films, though his inclinations ran a little artier. Daalder achieved some cult success with the 1976 drive-in classic Massacre At Central High; then Russ Meyer asked him to work on the star-crossed Sex Pistols movie Who Killed Bambi? Newly infatuated with punk rock, Daalder struck up a friendship with Tomata Du Plenty, leader of the theatrical L.A. synth-punk act The Screamers. Throughout the first half of the ’80s, Daalder and Du Plenty tried and failed to get multiple music-video projects off the ground, until in 1986, they finally released Population: 1, a quasi-science-fiction art-punk musical cobbled together from pieces of footage Daalder shot with Du Plenty over the years, cleverly layered with the help of state-of-the-art image-manipulation effects.Read More »