Political Animals feels like an important historical document in the making – an important lesson on the progress the LGBT community has made in the last twenty years, and a stark reminder of the progress still needing to be made.
What stands between mundane everyday life and tomorrow’s hangover? La Noche, narrates the sexual adventures of a man who navigates the prostitution underworld of Buenos Aires. For company, he has only drugs, prostitutes, and the incessant solitude that pushes him time and again towards the next fuck, the next shot, the next adventure.
A twist on the concept of trans sexuality, in Pulse, Stevie Cruz-Martin and Daniel Monks deliver an insightful look into the challenges of evolving into one’s true self, even walking head-on into the notion of creating your own ideal, perfect life. Interestingly, this innovative little film can’t help but make you look beyond the physical and consider what really makes you, you.
Marcelo Caetano is a newcomer, but ambitious feature director who has a fascinating approach to gay cinema and LGBTQ relationships. His debut, Body Electric, is a candid and tender tribute to Brazil’s racial and sexual heterogeneity, as well as an unbridled, sincere addition to this year’s BFI Flare Festival.
The Naked Civil Servant is camp and unabashedly so- but it has far more going on beneath the surface, and helped usher in more nuanced portrayals of LGBT people and culture in the years to come. It may be dated, but time hasn’t made it feel embarrassing in retrospect. It is still one of the most pivotal works in the LGBT pop culture canon that helped further mainstream awareness and acceptance.
With Handsome Devil, writer/director John Butler, reprises the poignant reflection on the meaning of masculinity he had explored in his fun 2013 debut The Stag (aka The Bachelor Party) but this time he takes the diatribe back to high school – a rugby-obsessed, all-boys boarding school to be precise – and by his own admission infuses the story with inevitable autobiographical references.
The Lair is a campy fun soap opera that ran for three seasons mainly centered around a coven of gay vampires operating a sex club to lure their prey. Each season is full of subplots with a Dorian Gray-like portrait, an abusive boyfriend, a werewolf, a mad scientist, a killer plant, a Gorgon, a killer head, a magic ring and a disgruntled Vampiress. Oh yeah… and there’s a lot of hot guys and sex!
There’s nothing quite as enticing as this year’s BFI Festival selection – Center Of My World, along with its fascinating cinematography, remains one of my personal favorites due to its candid and refreshing approach to gay relationships, as well as its memorable and enveloping performances. Despite using a teenagey framework, which could have easily diverted the film into a bland kitsch romance, Erwa sets the bar high and proves that any type of setting can be molded into a masterpiece with the right tools and sensibility.
Shot entirely in black and white, Verow’s film carries an interesting film noir feel to it. V is the unfortunate victim of circumstance, locked in an ever-present battle with the villainous Shawnith. A string of sexually motivated young men float in and out of V’s life until Christian arrives – the unexpected femme fatale, or male fatale as it were.