Movies
SPRING ARTS PREVIEW FILM: Flaming flicks
From silents to I MAX 3-D, docs, indies, Oscar winners and beyond
āJourney to Space,ā the new I MAX 3-D feature opening this week at the Smithsonian Air and Space Museum, can be either a nice romantic outing, a wonderful way to impress out-of-town visitors or a great way to help kids burn off cabin fever.
Featuring amazing images, a soaring soundtrack and the dulcet narration of Sir Patrick Stewart, the monumental film tells the amazing stories of the Space Shuttle and the creation of the International Space Station and looks at the challenges of planning a human mission to Mars.
The Smithsonian is opening Jean-Michel Cousteauās āSecret Oceanā on March 20 at the National Museum of Natural History and āLiving in the Age of Airplanesā on April 10 at the National Air and Space Museum.
Also opening today at the Landmark E Street Cinema is the remarkable documentary āBallet 422.ā Director Jody Lee Lipes follows emerging young choreographer Justin Peck, a 25-year old dancer with the New York City Ballet, as he creates a new work for the company. With unprecedented access, the film follows Peck as he collaborates with musicians, designers and his fellow dancers to create āPaz de la Jolla,ā the company’s 422nd new ballet. āBallet 422ā is an unembellished vĆ©ritĆ© portraitĀ of dancers hard at work.
The spring film season also includes several other interesting documentaries. āThe Mind of Mark DeFriestā (March 13) examines the controversial incarceration of the āHoudini of Florida.ā Directed and produced by the award-wining team of Kirby Dick and Amy Ziering, āThe Hunting Groundā (March 27) is scorching exposĆ© of the startling prevalence of sexual assault on college campuses across the country.
Today is also opening day for āThe Second Best Exotic Marigold Hotelā at AFI Silver which continues the comic and bittersweet stories of British pensioners relocating to India. While the gay character was conveniently killed off in the first movie, the sequel includes glorious footage of India, the spectacle of a traditional Indian wedding and cracker-jack performances by such screen luminaries as Dames Judi Dench and Maggie Smith, Richard Gere, Bill Nighy and Penelope Wilton.
In addition to a strong slate of international and indie films, AFI Silver in downtown Silver Spring also features classic films from Hollywood and world cinema, as well as silent film classics accompanied by original live music. This spring the spotlight is on āThe Leading Ladies of Hollywoodās Golden Age.ā LGBT audiences can delight in powerful big-screen performances by Ingrid Bergman (āCasablancaā plays this weekend), Clara Bow (āItā), Mae West (āIām No Angelā), Joan Crawford (āMildred Pierceā), Gloria Swanson (āSunset Boulevardā) and the all-star cast of āThe Women,ā directed by gay director George Cukor.
In an exciting development, Reel Affirmations, D.C.ās LGBT film festival, has announced that the annual event will be making a comeback in August 2015 at the Tivoli Theater. Submission deadlines are March 15 (early bird) and April 15 (regular) and lots of sponsorship and volunteer opportunities are available.
In the meantime, out Program Director Kimberley Bush will continue with the monthly Reel Affirmations XTRA series. On the slate there are:
āAppropriate Behaviorā (March 20), written and directed by Desiree Akhaven (HBOās āGirlsā), the movie looks at the life of Shirin who is juggling multiple identities: an ideal Persian daughter, politically correct bisexual and hip young Brooklynite.
āTiger Orangeā (April 17). Following the death of their father, two estranged gay brothers return to the small California town where they grew up. Written and directed by Wade Gasque, the movie stars Mark Strano (who shares screenplay credit) as the dutiful son Chet who stays at home and Frankie Valenti (also known as Johnny Hazard) as Todd, the son who ran away.
āEat With Meā (May 15) is written and directed by David Au, and stars Sharon Omi as a wife and mother who runs away from her boring life. She ends up at the struggling Chinese restaurant run by her estranged son Elliot, who is gay, and the two try to rebuild their tangled relationship. The cast also includes Nicole Sullivan (āMad TVā) and George Takei.
LGBT filmmakers will have the chance to strut their stuff in the 2015 D.C. Shorts film festival. Under the direction of openly gay filmmaker Jon Gann, the festival champions short filmmaking though their annual showcase and a series of classes. The 2015 Film Festival and Screenplay Competition will be held from September 10-20, but preparations are already underway. Submissions are due by April 30. The Mentors program, presented in collaboration with Arlington Independent Media and Women in Film & Video, offers classes for filmmakers at all skill levels. On May 14-15, D.C. Shorts Presents āPopcorn & Pasties,ā a debauched evening of cinema and sideshow with short flicks and even shorter skirts.
Also be sure to note the Our City Festival, a celebration of D.C. through film, music and literature that will highlight D.C. beyond the monuments and politics. It runs June 5-7.
Moving from the small screen to the big screen, āEntourageā (slated for a June 6 opening) picks up the story of Vincent Chase and his devoted posse. Playing a key role in the plot is openly gay actor Rex Lee as super-agent Ari Goldās exasperated gay assistant.
Finally, while we wait for the July 1 opening of āMagic Mike XXL,ā the sequel to the popular movie about male strippers, there are some other mainstream movies that may appeal to LGBT cinephiles this spring.
āDanny Collinsā (March 27) is the story of a debauched aging rocker (Al Pacino) who has abandoned his artistic ideals to become a pop star. When his long-suffering manager and best friend (Christopher Plummer) discovers a letter that John Lennon wrote to his young fan, Collins decides to drop out of his profitable tour to rediscover his art and reconnect with the son he abandoned. Despite some slow pacing, strong performances by Pacino, Plummer and Annette Bening turn this sleeper into a charmer.
āSpyā (March 22) stars Melissa McCarthy as a CIA analyst who has to go undercover to locate missing agents. āHot Pursuitā (May 8) stars Sofia Vergara and Reese Witherspoon as women who are being pursued by both gangsters and corrupt cops.
On a more serious note, Casey Mulligan stars in āFar From the Madding Crowd.ā the lush adaptation of the Thomas Hardy novel about a woman who must choose between three very different suitors.
Movies
Neo-noir āFemmeā offers sexy, intense revenge fantasy
A work of real and thrilling cinematic vision
They say ārevenge is sweet,ā and it must be true. Why else would so many of our popular stories, dating all the way back to āMedeaā and beyond, be focused on the idea of getting āevenā with the people who have done us wrong?
Itās a concept with obvious appeal for anyone who has felt unjustly used by the world ā or, more accurately, by the people in it ā but that has particular resonance, perhaps, for modern queer audiences, long used to being relegated to the status of āvictimā in the narratives we see on our screens. In āFemmeā ā the new UK indie thriller helmed by first-time feature directors Sam H. Freeman and Ng Choon Ping, now in limited theatrical release and expanding wider over the next two weeks ā it provides the irresistible hook for a gripping tale of calculated vengeance in the face of anti-queer violence. Like the best of such stories, however, itās as much a cautionary tale as it is a wish-fulfillment fantasy.
Set in London, it centers on Jules (Nathan Stewart-Jarrett), aka Aphrodite Banks, a popular drag performer in the cityās queer club scene who, after a performance one night, steps out in full costume to buy a pack of cigarettes and becomes the victim of a traumatic āgay bashingā incident at the hands of a young man goaded to violence by a thuggish gang of friends. Months later, though heās recovered from his physical injuries, he is still deeply affected by the inner scars that linger. Robbed of the confidence that allowed him to perform, heās withdrawn into a reclusive life, until concern from his friends and housemates prompts him to finally venture out into the world for a night of cruising at a gay sauna ā where he encounters his bully doing the same thing.
Unrecognizable and anonymously masculine out of his drag persona, Jules finds himself beginning a dangerous and duplicitous game in which he plans to āoutā his former attacker ā whose name, as he learns, is Preston (George MacKay) ā in the most humiliating way possible. As his scheme begins to play out, however, he encounters an obstacle: in getting to know the closeted Preston, he is surprised to discover not only empathy for someone living their life in terrified camouflage, but a mutual attraction that develops despite the horrific history between them.
Framed as a self-described āneo-noirā story, a designation that implies a certain flavor of moral ambiguity as much as it does a tense and shadowy tale of intrigue or a psychologically complex tone, itās a movie that relies heavily on style in order to sell its conceptual premise. Realistically, we might question the boldness that permits our protagonist to enact such a potentially hazardous scheme, but in the context of its genre trappings we are lulled into accepting it. And while most of us are likely ājadedā enough to question the possibility of tenderness between its two leading characters, the accepted conceits of the film noir form are enough to sell it to us ā or at least allow us to grapple with it alongside Jules, whose righteously Machiavellian master plan is threatened by the feelings he ācatchesā in spite of himself.
That, of course, is part of the whole point. āFemme,ā though it establishes itself by virtue of its very title as a testament to the struggle to āpassā for straight in a world that places a value judgment on perceived adherence to a strict norm for gender and sexuality, hinges on the idea that such things arenāt quite as clear-cut as we want to make them. Despite the black-and-white certainty we cling to when it comes to the subject of abusive or toxic relationships, thereās an emotional component that can only be ignored or dismissed at our peril, and even our most resolute intentions can be undermined by the shades of gray we discover in our hearts.
Freeman and Ng ā who also wrote the screenplay, adapting their own BAFTA-nominated short film from 2021 (starring Harris Dickinson and Paapa Essiedu) into a feature-length expansion ā seem bent on challenging our snap judgments, on forcing us to sympathize with our oppressors by showing us the ways in which they, too, are prevented from living a fully authentic life by the expectations of their cultural environment. Even more challenging for many modern audiences, perhaps, may be the unavoidable observation that, in enacting his plan of revenge, Jules crosses the line between being a victim and being a victimizer ā a fine point that may trigger uncomfortable implications in a social environment that has become marked by divisive moral constructs and hardline ethical posturing.
Before we scare you off with discussion of high-concept themes and āculture warā rhetoric, however, itās crucial to bring up the elements that lift āFemmeā above and beyond the level of so many such narrative films and makes it a somewhat unexpectedly potent piece of cinematic storytelling ā and all of them have to do with the skill and intention behind it.
As to the former, the movieās first-time directors manage a remarkable debut, steeping their film in moody, genre-appropriate visuals and murky morality. They pave a path beyond the easy assessments proscribed for us by conventional thinking, and force us to follow our sympathies into a disquieting confrontation between what we āknowā as right and what we feel as true; at the same time, they push back against any natural sentimentality we might have about the situation, stressing the toxicity of the relationship in the middle of their film, the ironically-reversed insincerity of its dynamic ā and, perhaps most importantly, the reality of the defining circumstances around it. While we might find ourselves longing for a happier resolution than the one we expect, the film makes no pretense that these two men might overcome the deep denial and traumatic associations ā not to mention the calculated lack of honesty on the side of its de facto protagonist, to achieve some kind of āhappy endingā between themselves. Nevertheless, we hope for it, in spite of ourselves.
That delicate dynamic works largely because of the movieās lead actors. Both Stewart-Jarrett (āCandymanā) and MacKay (āPrideā, ā1917ā) deliver fully invested, utterly relatable performances, finding the emotional truth behind their interactions with as much palpable authenticity as they bring to the chemistry between them. They force us to abandon our preconceived ideas about each character by finding the human presence behind them, and it makes the storyās final outcome feel as heartbreaking as it does inevitable.
As for intention, āFemmeā ā which premiered at last yearās Berlin International Film Festival and went on to gather acclaim across the international film fest circuit ā might be a little hard to take for the easily triggered, we wonāt deny it. Still, itās a work of real and thrilling cinematic vision that goes beyond easy morality to highlight the tragedy that comes from being forced to live behind a mask for the sake of societal acceptance. Itās also exciting, smart, and unexpectedly sexy ā all of which make it a highly- recommended addition to your watchlist.
Editor’s note: Jack Morningstar attended SXSW.
Based on Mason Deaver’s novel, “I Wish You All the Best” follows Ben DeBacker (Corey Fogelmanis), a nonbinary teen who is thrown out of their house and forced to move in with their estranged older sister and her husband.
The film premiered at SXSW last week and stars Corey Fogelmanis, Miles Gutierrez-Riley, Alexandra Daddario and Cole Sprouse, Lena Dunham and was produced by Matt Kaplan and Tommy Dorfman. In addition to directing and producing, Dorfman also adapted the screenplay.
āI had never read a book that centered on an experience that mirrored mine so vividly ā just being a queer kid from the South ā so I immediately was interested in adapting it and was putting myself up for that,ā she said.
The heartwarming film brings awareness to the plight of LGBTQ kids who grow up in conservative families and communities, while also emphasizing that, as Dorfman noted, āsafety can be found in many places.ā In this case, the main protagonist, Ben, finds refuge in their friendship with Nathan. Fogelmanis, who plays Ben, explains that “together they have so many first-time experiences. Learning to let your walls down with someone that is a stranger, or that you don’t have a biological bond with is really scary. And then just to see all the stuff that comes up and have that person still accept you is just the greatest thing for Ben.ā
Fogelmanis and Gutierrez-Riley were obvious choices for the roles of Ben and Nathan.
āIt was really clear to me from a filmmaker perspective. There were a couple of people for each role that I was interested in and enjoyed working with, but Fogelmanis, from that first tape to the last chemistry read made it so clear who Ben was, who Ben is, and who Ben could be. Miles, who plays Nathan, is so amazing as well,ā Fogelmanis added. āIt was really effortless in a way. Reading Tommy’s words was super easy to find my way into.ā
Dorfman found it particularly easy to work with Gutierrez-Riley as well since they attended the same acting program at Fordham University.
āI remember when I was working with Miles in the audition process, I was like, oh, I know how to talk to you. That’s huge. It helped me as a first-time director,ā she said.
Dorfman wanted to be careful ānot fall into the trap of dramatizing Benās gender or coming out too much. It is important to remember that viewing people solely through the lens of their gender or sexuality diminishes their vast and complex humanity. For instance, my life extends beyond my trans identity. I’m an artist, a wife, a mother to two dogs, a sister to four siblings, an avid reader of classic literature, 10 years sober, have ADHD, enjoy arranging flowers and charming tableware, to name a few things.ā
āSimilarly, my film’s protagonist, Ben, doesn’t have an identity exclusive to being a queer teenager. Although their coming out experience is crucial and worth exploring, an obvious jumping-off point in my film, it’s what happens after they’re able to open up that inspired me to make ‘I Wish You All The Best,’ Dorfman added. “My film examines the discomfort of being seventeen, falling in love with a classmate, forming friendships, finding a voice through painting and self-expression, learning to love and be loved, navigating anxiety and depression, and coping with the pressures of growing up. These are universal and very human experiences that shape Ben beyond the limits of representation or perception.ā
Dorfman describes being one of the few openly transgender directors as āan honor and a disappointment.ā She added, āI wish there were more of us, but there will be. It’s exciting, though, to be part of this next generation of creators and filmmakers entering this space and telling more human experiences.ā
Movies
Nick Kroll and Andrew Rannells want to adopt baby in ‘I Don’t Understand You’
Film premiered at SXSW in Austin
Editor’s note: Jack Morningstar attended SXSW in Austin, Texas.
“I Don’t Understand You” focuses on a couple whose romantic Italian getaway devolves into bloody chaos while they prepare to adopt their first child.Ā
The film, while veering into hilariously gruesome hijinks, tells the story of a gay couple who is willing to kill for a chance at fatherhood. It sheds light on the hurdles that same-sex couples often go through in the adoption process: Financial burdens, time constraints, fraud, and in this case, a rural Italian family.
The film premiered last weekend at SXSW in Austin and stars Nick Kroll and Andrew Rannells along with Nunzia Schiano, Morgan Spector and Eleonora Romandini. It was written and directed by Brian Crano and David Craig, who are married. They sourced inspiration from their own adoption struggles and an Italian vacay gone wrong.
āWe were about to leave for Italy when we found out that we had matched with a birth mother and our son would be born in about six weeks,ā said Crano.
According to Craig, the trip was tense and it culminated in their car getting stuck in a ditch on their way to an anniversary dinner.
āWe ended up at an old ladyās house after she rescued us in her Fiat. Her family cooked us a meal and we stayed up drinking with them until 3 a.m., not understanding a word they were saying,ā he said.
Without spoiling anything, the couple in the movie go to absurd lengths to ensure that their adoption goes through. Craig explained that the theme of the movie was “what would you do for your kid.”Ā
“We were three years into our own journey at the time and realized we would literally do anything to make that dream a reality. Itās really a love letter to our son,ā he said.
The film is hard to relegate to a single genre.
āWhen conceiving the story, we saw it as different parts ā romantic comedy, horror movie, murder play ā but I think by bringing in Nick and Andrew that blend actually became much more of an organic mix where the comedy sustained throughout. They elevated it in a more elegant fashion,ā said Craig.
“I Donāt Understand You”was produced by Pinky Promise, a women-led production company with the mission to elevate diverse voices in their storytelling. Kara Durrett, Pinky Promiseās current president was a champion of this script from the beginning. Founder Jessamine Burgum recounts that when Durrett was onboarding, she said āIf you donāt get [“I Donāt Understand You”] I donāt know if this is going to work.ā
It ultimately became one of the first projects Burgum and Durrett collaborated on.Ā
Kroll and Rannellsā chemistry carried the film.
āThere was a desire to work with each of them because they had both separately been in such amazing comedian teams ā like Andrew with Josh Gad and Nick with John Mulaney. Nick and Andrewās characters are in almost every scene of the movie together, so they needed to be adept to basically doing a shared performance. There was no one more well-positioned to do this as naturally as possible,ā said Crano.
Their characters are easy to root for, yet also deeply flawed.
āA big thing we wanted to do with this movie, and with all of our work in telling stories, is avoid telling a cliched gay trauma film. Weāve never ascribed to the idea that there is a subcategory to film that is LGBTQ, rather ā movies are for everyone. We want to make a movie where gay characters are flawed, not for being gay, but because of who they are. They can be villains, but they are our protagonists,ā said Craig.
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