The Graffiti Artist (2004)

Nick (Ruben Bansie-Snellman) is a teen-aged post-modern graffiti artist who decorates exterior walls in downtown Seattle and Portland using the tag name "Rapture". He is a loner, keeps journals of his drawings, photographs of his graffiti, stays alive by shoplifting cans of spray paint and his vegetarian diet foods, and gets around on a skateboard. Nick is a man against the world and is arrested for his art. When released, he meets a fellow tagger Jesse (Pepper Fajans) and finally speaks--to this point there has been no dialogue from Nick--and follows him around, sharing art and tagging. A "tagger" is a graffiti artist who spray-paints his name or symbol on a public wall. Jesse has some money and provides Nick with food and shelter. They travel to Seattle to tag, create some beautiful grafitti art, and bond to the point where Jesse invites Nick into his bed. There is an impressive sexy yet understated gay sex scene. By morning Jesse has conflicts about the gay sex. Nick appears satisfied yet anxious about Jesse's response. They continue to tag, using their new partnered tag name "Elusive". Jesse eventually distances himself from Nick and returns to Portland. Nick tries to maintain his lifestyle but living in the streets and tagging in dangerous places results in problems with the law. But primarily because he misses Jesse, the only person with whom he has bonded, Nick returns to Portland, leaving tag messages signed "Rapture" wherever he sees Jesse's signature "Flip". At last Nick finds Jesse, who doesn't want to have anything to do with him. Alone again, Nick returns to his solitary life and the way he deals with his dream ends the movie.

There is almost no dialogue in this film. It relies on body language to tell the story of why Nick and Jesse like each other, what the sex meant, and what the long-term impact is likely to be. The magnetism of the actors' body language and especially eye language is more effective than dialogue. Ruben Bansie-Snellman creates a character so convincingly simple in his complexity that he pulls us into the strange world of the graffiti artist subculture. The music score is by Kid Loco. Written, produced, and directed by Peter Paige.

Say Uncle (2006)

Paul Johnson (Peter Paige) is a nerdy gay artist, innocent and reclusive, living in Oregon. He loves children and has a close relationship with his godson, the child of his best friends. When his godson moves to Japan, he attempts to replace the loss by baby-sitting, working in a toy store, and playing with kids in playgrounds. Paul is not a pedophile, but is playing with fire. His best friend Russell (Anthony Clark) advises caution, because people will talk and he could get into big trouble. Local mother Maggie Butler (Kathy Najimy) concludes that he fits the classic profile of a child predator. She embellishes the truth for what she considers the safety of innocent children. Together with some other mothers, Maggie starts a neighborhood witch-hunt to "bring Paul in" before he commits a crime. Because Paul is gay and kindly, we are supposed to regard him as the victim. However, his creepy Peter Pan complex, grossly inappropriate behavior, and his anger at the bad world of grown-up people does not arouse my sympathy. Why doesn't he grow up? Frankly, I have more sympathy for the parents, although the movie demonstrates that it is wrong to become hysterical and jump to conclusions without evidence.

Filmed in Portland, Oregon during the summer of 2005, "Say Uncle" had a production schedule of 18 days, and filming took place at 19 different locations. Production values are not the best. New York Times reviewer Jeannette Catsoulis wrote that the film's R rating is based on "two boys kissing, one naked-toddler photograph, some naughty words and a lot of bad art." Written and directed by Peter Paige, who also stars in the film as Paul.

Boys' Shorts: The New Queer Cinema (1993)

This feature-length movie showcases six gay shorts produced in the early 1990s. The program features the work of filmmakers from the USA, Canada, England, and Australia. First is "Resonance", directed by Stephen Cummins, a story of a gay bashing in the back streets of Sydney, using dance and music. It is obscure, difficult to follow, and 11 minutes long.

Second is "RSVP", directed by Canadian Laurie Lynd, a powerful and moving portrait of loss, punctuated by the haunting recording of "La Spectre de la Rose", performed by Jessye Norman. It explores the range of emotions felt by a group of people toward an AIDS victim, and is 23 minutes long.

Third is the American "Anthem", directed by Marlon Riggs, a collage of erotic images and a call to arms, with a feverish hip-hop energy that celebrates the lives of African-American men. It's a 9 minute long kaleidoscope of black gay expression, MTV style, with repetitive chants, male celebrations, and tribal scenes.

Fourth is "Relax", directed by Christopher Newby, an elegant film about one man’s fears and fantasies regarding HIV testing. Interesting not for what it says--that one can't relax in the face of AIDS--but for how it says it. Cinematic techniques reflect the protagonist's worries about his HIV test. For example, vigorous bathing becomes the flow of the bloodstream. It is 25 minutes long.

Fifth is "Billy Turner’s Secret", directed by Michael Mayson, an upbeat, slickly produced, energetic comedy about a young black man coming out to his homophobic roommate. A straight, homophobic black man asserts, "I will fuck a buck-toothed, bald-headed, stinky-breathed, 108-year-old, droopy-tittied bitch in her old crusty pussy before I get together with the bend-over boys," until his closeted black roommate enlightens him. Runtime is 26 minutes.

Last is "The Dead Boys’ Club", directed by Mark Christopher, a charming and poignant tribute to the 1970s world of promiscuity and glitter balls, firmly rooted in the American cinematic tradition and in gay life in the 1990s. It pays tribute to "The Wizard of Oz". An awkward young man coming out in the AIDS era gains confidence as well as gets transported to the freewheeling '70s whenever he puts on the shoes of his older cousin's dead lover's shoes. The runtime is 25 minutes.

The actors are: Edith Meeks, Larry Maxwell, Susan Norman, Scott Renderer, James Lyons, J. Evan Bonifant, Barbara Garrick, Julie Halston, Robert Pall, Daniel Schlachet, Craig Chester, and Michael Kirby.

Most viewers do not like this movie, usually with the exceptions of "Relax" and "The Dead Boys’ Club". The main comment is "boring"--"Very boring, it drags and it drags..." Another is, "Clearly well-intentioned, the films just aren't all that interesting. In mostly uninspired ways, it rehashes general aspects of gay life that most people are probably familiar with." A third comment: "A few of these directors have fallen into the arrogant trap of believing that their work is so good that it needs neither plot nor momentum. It's not." However, B. Ruby Rich wrote in Sight & Sound: "These works are irreverent, energetic, alternatively minimalist and excessive. Above all, they're full of pleasure."

Together Alone (1993)

Bryan (Todd Stites) is blond and gay. Dark-haired Brian (Terry Curry) describes himself as bisexual. They meet in a bar one night, go back to Bryan's place, have uninhibited unsafe sex, sleep for a short while and then wake up to get to know each other. The pair spend the entire evening in an epic conversation about: sexual identity, role-playing, homosexuality, heterosexuality, the gay liberation movement, feminism, loneliness, Emily Dickinson, philosophy, and so on. Ultimately, AIDS becomes the prime topic of the evening. Bryan and Brian debate their conflicting values, recall key events in their lives and slowly, reluctantly reveal themselves. Why was the sex unsafe? Bryan, who says this was his first sexual encounter in a long time, initially blames Brian for not taking precautions. Brian refuses to say whether or not he has tested positive. When Bryan ridicules Brian's claims of being bisexual, Brian expresses impatience with "militant drag queens" who insist on dragging everyone out of the closet. "People shouldn't be so obsessed by labels," he says. By the film's end, it's clear that Bryan is both lonelier and stronger than Brian. He doesn't fool himself about the way things are. At the same time he is a romantic, and says, "I like to think that every time you do the right thing, you become a little better." Brian, leading his double life, appears headed for disaster.

Bryan and Brian are different aspects of the same personality. This is reflected in their names and also in their having had the same dream while they slept. Though all of the sex occurs off screen, the sex-oriented discussions between the two are quite explicit. The carefully choreographed dialogue is set entirely in one room, probably because the film's budget was $7,000. Considering the movie's claustrophobic setting, it defines political positions, social questions, and emotional problems very nicely. Incidental music was composed by Wayne Alabardo. Written and directed by P. J. Castellaneta.

As Is (1986)

Rich (Robert Carradine), a writer in NYC, learns that he has AIDS. He is frustrated, and alternates between "it doesn't get any better than this" and a raging anger about his own fears and the prejudiced reactions of others to his condition. Recently he broke up with his long-time lover Saul (Jonathan Hadary), but they reconcile because Rich needs emotional support and sanctuary. Saul is the only person who loves him enough to argue with him when he doesn't appear to love himself. Characters are portrayed realistically, and not white-washed. The bar scenes are particularly funny in their self-consciousness, and we get the gallows humour of the gay men. Rich's brother (Alan Scarfe) visits him. There is no gay moral superiority and we are touched by the brother's efforts to empathise with someone he does not want to lose. Joanna Miles as Rich's actress friend Lily is warm but has little to do except introduce him to her cousin Chet (Doug Annear). Lily's farewell to Rich in the hospital is reminiscent of the way gay men abandon their infected partners. Coleen Dewhurst as the hospice worker brightens things up with her humor, sensible attitude, and comments.

"As Is" does not preach, but suffers from staginess. It is not rated, but is adult in nature, with some coarse language. This made for cable TV movie is a version of the stage play by William S. Hoffman, adapted by the author. The theatrical origins of the play are still evident in this film. Studio sets reveal how underbudgeted the project is, but it is the eloquence of Hoffman's dialogue that rises above it all. The depth of the film comes from the observed detail of gay lifestyle. Peter Matz composed the incidental music. Michael Lindsay-Hogg directed.

Unconditional Love (2002)

Lawyer Max Beasley (Dan Aykroyd) leaves his middle aged wife Grace (Kathy Bates), and she impulsively decides to live her life the way she wants to. Her favorite pop star, Victor Fox (Jonathan Pryce), a crooner in the style of Tom Jones, is murdered by the "Crossbow Killer" serial killer in her home town of Chicago just as she's about to meet him on TV. She takes a plane to London to attend his funeral. On the flight, Julie Andrews has a cameo as the person sitting next to Grace who comforts the other passengers during a turbulent storm by getting them all to sing, "Getting To Know You". When she arrives she meets Victor's secret lover and "valet" of 20 years, Dirk Simpson (Rupert Everett), who is determined to avenge Victor's death. Grace convinces him to come back to Chicago with her to find out who killed the singer. Together, along with Cathy's dwarf daughter in-law, the trio eventually find the cross-bow killer and turn him into the police. In the process, Grace gradually begins to understand what it means to live life on one's own terms, the value of unconditional love, and the evils of sexism and homophobia.

The film ends with the trio being celebrated on a TV talk show as heroes who have tracked down the serial killer. Dirk announces that he is turning Fox's home into a halfway house for gay youth who are kicked out of their homes by their bigoted parents. Maudey Beasley (Meredith Eaton) reports that a cell phone company is having her sponsor their new line of phones. Finally, after all is said and done, Max appears in the audience and asks for Grace to start her singing career right now on national television. Celebrity Barry Manilow walks onto the stage and joins Grace in a song that sums up the major political message of the film: in life we all belong to the human race and must respect the human rights and human dignity of all men, women and children.

The main theme is about being different from everyone else and how society treats unusual people. It's an off-the-wall zany film, touching, funny, crazy, and surreal. For some inexplicable reason the real Julie Andrews keeps popping up at random times to sing. Critics give it mixed reviews, and ignore the film's political commentary and simply see it as a quirky comedy. Film critic Jason Bovberg wrote: "As a dark comedy, Unconditional Love can be occasionally effective. There are a few moments in this film that had me laughing quite hysterically. Merely the sight of Jonathan Pryce shuffle-dancing through clouds over the opening credits loads the film with promise. And Meredith Eaton as Maudey steals every scene she's in. But in the end, you can't escape the fact that Bates has difficulty carrying this movie and in fact, doesn't seem to really understand the type of film she's in." Written by Jocelyn Moorhouse and P. J. Hogan, who also directed.

Mala Noche (1985)

Walt Curtis (Tim Streeter) is a homosexual liquor-store clerk attracted to two younger Mexican boys, Johnny (Doug Cooeyate) and Roberto Pepper (Ray Monge), who are illegal immigrants. Walt and his friend Betty (Nyla McCarthy) convince them to come over for dinner, but Johnny and Roberto have to return to their cheap hotel because another friend is locked out. Obsessed with Johnny, Walt says, "I wanna show this Mexican kid that I'm gay for him." However, Johnny doesn't speak English and finds Walt strange and undesirable. Walt offers hustler Johnny $15 to sleep with him, but Johnny refuses and runs to his hotel room, leaving Roberto locked out with nowhere to spend the night but Walt's. Settling for second best, Walt lays down next to Roberto and allows him on top for sex. The next morning, Walt is full of regret as he realizes that Roberto probably feels like he has just out-manned Walt, as well as stealing $10 during his stay. However, he doesn't give up on Johnny. The story progresses from there into unclear relationships--unbalanced by age, language, race, sexuality, and money.

Based on the autobiographical novel by Walt Curtis, this movie was shot in16 mm, mostly black-and-white, entirely on location in Portland, Oregon. Long unavailable and now fully restored, it is arranged into vignettes around Portland's skid row. Mala noche is Spanish for "bad night". This low budget drama was written and directed by Gus Van Sant, his first feature film.

A Touch of Pink (2004)

Alim (Jimi Mistry) is an Ismaili Canadian, a young South Indian movie photographer who lives in London, thousands of miles from his family, for one very good reason--he has a boyfriend. His ideal gay life begins to unravel when his mother Nuru (Suleka Mathew) shows up to find him a suitable Muslim girlfriend and convince him to return to Canada for his cousin's wedding. Nuru was born and raised in Africa. She was fond of watching Cary Grant and Doris Day movies, and wanted to be like her. After the death of her husband, Nuru leaves her four year-old son Alim in Africa with her sister Dolly (Veena Sood) and immigrates to Britain to start a new life. Nuru returns after suffering racism in England. She and her sister emigrate to Canada with their families and Alim grows up in Toronto. Fast-forward to the present. Nuru is going to attend her nephew Khaled's (Raoul Bhaneja) wedding and wants Alim to attend. She longs for him to marry a nice Ismali Muslim girl and raise a family in Toronto, and travels to London to convince Alim to come home. He lives with his boyfriend Giles (Kristen Holden-Reid), as well as the ghost of Cary Grant (Kyle MacLachlan), whom only Alim can see. Pursuing the ideal world presented in the films of Grant-era Hollywood, Alim seeks and then follows the advice of the ghost. This works out pretty well until his mother shows up. Screwball confusion ensues as Alim tries to keep his gay relationship from being discovered by his mother, all the while trying to maintain composure in the style of his mentor. Nuru finally gets to meet her son's boyfriend.

This charming and delightful romantic comedy is driven by the humour of the cultural divide between characters who are young and old, Indian and Western, gay and straight, real and imaginary, and alive and dead. Suleka Matthew as the mother is a very gifted comedian, and Kyle MacLachlan's performance as Cary Grant has the vocal intonations and mannerisms just right. A must-see for fans of old Cary Grant movies, who will pick up all the references to his films. Written and directed by Ian Iqbal Rashid.

101 Rent Boys (2000)

From the makers of "Party Monster" comes this lurid documentary about the seamy world of street hustlers. The producers recruited 101 hustlers from the Santa Monica Boulevard area in West Hollywood and paid each of them $50 for their time. All the hustlers, who were from diverse ethnic, racial, regional and economic backgrounds, were interviewed in various motel rooms on such topics as how they entered into prostitution, their sexual orientation, drugs, homelessness, and their first johns. They also explain how they dress, speak, act, think, give head, receive head, increase cash flow, keep safe, walk, eat, smoke, flirt, get turned-on, feel about love, and plans for the future. Viewers are introduced to a sadist, an ex-gang member, a transsexual, and many others. It focuses on a few of the boys more extensively than others and longer interviews with about two dozen expose the transient lives of men who sell their bodies to other men, with surprisingly little guilt or shame. Each rent boy was assigned a number--but not each one is identified in the film. While some of the men are interviewed in various states of undress and the talk sometimes becomes sexually explicit, the film itself contains no sexual activity.

The DVD has a feature where each of the hustlers were left alone with the camera for five minutes to do whatever they choose. In this feature, several participants masturbate. A companion book, also called "101 Rent Boys", was published featuring photos and excerpts from the interviews. Fenton Bailey and Randy Barbato directed.

That Certain Summer (1972)

Fourteen-year-old Nick Salter (Scott Jacoby) lives in LA with his mother Janet (Hope Lange). He cannot understand why his parents divorced. During the summer he visits his contractor father Doug Salter (Hal Holbrook) and his much younger "best friend" Gary McClain (Martin Sheen) in San Francisco. Gary moves out temporarily in order to keep Nick's possible suspicions at bay. Eventually Doug tells his son the truth, encouraged by Janet to reveal to Nick that he has a gay lover. Nick is filled with shame and disgust, and runs away. Once reunited with his son, Doug attempts to explain his sexual orientation and alternative lifestyle to him, with mixed results.

Originally broadcast as the ABC Movie of the Week on November 1, 1972, "That Certain Summer" was the first TV film to take a mature and somewhat uncritical approach to the subject of homosexuality. Like many "firsts", the film seems a bit timid when seen today. Emmy-winning writers Richard Levinson and William Link were forced by the network to include short speeches describing the gay life as something of a sickness. In an interview with the Dallas Voice, Martin Sheen said, "I thought it was wonderful. There was a great deal of freedom in it because it wasn't about advocating a lifestyle or a sexuality. It was about two people who adored each other, and they weren't allowed to have a relationship that involved their sexuality." Holbrook said, "I was an actor clearly not afraid of controversy...Anything that would make the audience think was worthwhile...That's a good reason for being an actor, when you can do something decent that touches people's hearts and their minds, so you feel like you actually accomplished something." Directed by Lamont Johnson.

Sommersturm (2004)

Tobi (Robert Stadlober) and Achim (Kostja Ullmann) have been best friends for years and are convinced that nothing will ever stand in the way of their friendship. As cox and oarsman, they have led their rowing club to win several rowing cups in the past, and are looking forward to win a big regatta in the countryside of Germany. But problems soon arise. As Achim's relationship with his girlfriend Sandra (Miriam Morgenstern), who's also on the team, grows more and more serious, Tobi starts to realize that his feelings for Achim run much deeper than he's willing to admit to himself. He feels confused, unsure of himself, and increasingly left out by the team. When Sandra's best friend Anke (Alicja Bachleda-Curuś) shows her interest in him, his anxiety starts to grow. When it turns out that the Berlin girls' team has been replaced by a team of athletic, cliché-bursting young gay men, Tobi and his teammates are suddenly forced to grapple with their prejudices, fears, and hidden longings. The Queerschlag ("Queerstrokes"), are a gay youth rowing team, out of the closet and proud of it. Spurned by Achim, Tobi is devastated, but is consoled by his new friendship with Queerschlag member Leo (Marlon Kittel). The tension between the two teams culminates in a scene set to the backdrop of a summer storm, during which Leo confronts Tobi about his homosexuality in front of his fellow team-mates. Tobi denies being gay, and one of his team-mates tells Anke to tell the rest of his team. Anke, the only person to whom Tobi has confided his secret, remains silent. Ultimately, Tobi comes out to his fellow team-mates, and his rowing team and Queerschlag go on to compete in the final regatta.

This award-winning German coming-of-age film (yes, another gay coming-of-age film) has a great soundtrack, including the smash hit "Willkommen" from the German duo Rosenstolz. The Atlanta Journal-Constitution wrote, "Summer Storm nicely captures the awkward confusion of first-time sexual encounters (gay or straight) and the collateral wounds caused by deceiving others and oneself." The screenplay was written by Thomas Bahman and Marco Kreuzpaintner, who also directed. The English title is "Summer Storm".

Deathtrap (1982)

Clifford Anderson (Christopher Reeve), a student of Sidney Bruhl's (Michael Caine)
writing seminars, sends him a copy of his first attempt at playwrighting for Sidney's advice. The play, "Deathtrap," is a five character, two act thriller so perfect that Sidney says, "A gifted director couldn't even hurt it." Using his talent for plot, and out of his desperate desire to once again be the toast of Broadway, Sidney, along with wife Myra (Dyan Cannon), dream up an almost unthinkable scheme: they'll lure the aspiring playwright to the Bruhl home, kill him, and market the script as Sidney's own. But shortly after Clifford arrives, it's clear that things are not what they seem. Even Helga Ten Dorp (Irene Worth), a psychic living next door, and Porter Milgram (Henry Jones), Sidney's astute attorney, can only speculate where the line between truth and deception lies. The Bruhls invite Anderson over, strangle him, and bury the body. But when they retire to bed afterwards, Anderson comes crashing through the window. He chases Myra through the house, scaring her weak heart into cardiac arrest. It turns out that Bruhl and Anderson are really gay lovers and have plotted this elaborate scheme to kill her. Anderson then moves into the house as Bruhl’s secretary. But Bruhl becomes suspicious when Anderson starts writing a play called "Deathtrap", which bears a suspicious resemblance to their scheme to murder Myra.

Based on a hit 1979 Broadway play by Ira Levin, who conceived "Deathtrap" as a satire on the whodunnit genre, the plot is filled with many twists and turns. It becomes increasingly more far-fetched, something that ups the entertainment value the more over-the-top it gets. The scene where Reeve and Caine kiss for the first time is a shock for the audience, for the dramatic surprise and for the fact we are seeing two men kissing--it was one of the first scenes of casual and open homosexuality on screen at the time, although it is cut in many US TV screenings today. Jay Presson Allen wrote the screenplay from Ira Levin's stage play, and Sidney Lumet directed.

Basquiat (1996)

In 1981, nineteen-year-old graffiti artist Jean-Michel Basquiat (Jeffrey Wright) is a bi-sexual street punk living in a cardboard box in NYC. Switching to postmodern Neo-Expressionism, he is discovered by Andy Warhol's (David Bowie) art world and becomes a star, an internationally renowned sensation--one of the most successful, controversial, glamorous artists in the world. Every aspect of his life becomes a subject for the media. But this turbulent and talented young man is also plagued by loneliness, self-destruction and the belief that people do not accept him for who he is. Basquiat was the first black contemporary artist to succeed in the white art world, and Tony Award-winning actor Jeffrey Wright does a perfect job portraying a man tortured by self-doubt and thoughts of suicide, struggling to survive. Early in the film, Basquiat stares through a window at the Warhol crowd standing in an art gallery. David Bowie, Dennis Hopper, Gary Oldman, Christopher Walken, and others are gathered together--obviously a jarring experience for Basquiat. The film's use of dreamy imagery tells the story from the perspective of Jean-Michel's eyes as he floats through relationships and gallery showings. Edited in a freeform fashion, Basquiat's life seems uneven. The story is occasionally muddled, and plotwise it is conventional in structure. Basquiat reaches the heights of fame and forgets all of his former friends before being redeemed at the end. Success has a high price, and Basquiat pays with friendship, love, and eventually his life. Basquiat died in 1988 at the age of 27 from mixed-drug toxicity, combining cocaine and heroin, known as "speedballing".

Basquiat's estate would not grant permission for his art to be used in the film. Director Julian Schnabel did the accurate reproductions of Basquiat's work, collage-style paintings on canvas. Lech Majewski wrote the script based on John F. Bowe's short story.

Sergeant, The (1968)

Master Sergeant Albert Callan (Rod Steiger) tries to overcome an overwhelming attraction he feels for one of his charges, handsome Private Swanson (John Phillip Law). Set in a post-World War II army post in France, war hero Callan barks orders to his underlings. Lonely in his solitude, remembering the frightening experiences of war, filled with self-loathing, and unable to act on his attraction to Swanson, Callan's affection festers into antagonism. He pushes Swanson constantly with verbal assaults and undeserved punishments. Oblivious to Callan's attraction to him, Swanson feels hatred for his Master Sergeant. The private is very dense, and is so hostile that it seems Callan would have to be crazy to chase after him. This film has very obvious symbols: a beer bottle handled as if it were a phallus, and fondled guns with the same message. It works against the melodrama, so when Callan finally grabs and kisses Swanson, there is no surprise, only an appreciation that lets us enjoy a performance while being aware of it. What is missing from "The Sergeant" is a revelation, something that would illuminate the sergeant's defeat and the private's salvation. Steiger is too good an actor to camp it up, but he lacks subtlety, and is mean, commanding, and pathetic in his courtship of the private. This despite the fact that a short opening sequence seems to establish the sergeant's lack of awareness about himself. During a patrol, Callan comes upon a German soldier. His gun jams and he pursues the soldier, finally strangling him in what is the reverse of an act of love.

The screenplay is by Dennis Murphy, based on his novel. When "The Sergeant" appeared in 1958, one reviewer described it as the story of a young man's personal discovery in a contest between good and evil. It squarely addresses the issue of homosexuality in an authoritarian environment where lower-ranked people have no defense against sexual predation. This central situation has been retained in Murphy's screenplay, but the point of view has been shifted to a dramatic vacuum between the private and the sergeant. John Flynn directed.

Breaking the Code (1997)

Produced for the BBC and Masterpiece Theatre, this movie tells the life story of mathematician and computer scientist Alan Turing (Derek Jacobi), the inventor of the Turing Machine, a computer used to solve the German Enigma code during World War II. Many believe he was instrumental in the Allied victory. The title refers to both the solution of the Enigma code and Turing's open admission of his homosexuality, which at the time violated the codes of polite society and British law. "Breaking the Code" begins in 1952 with the robbery of some of Turing's few possessions. Then the movie travels backwards and forwards through time, providing glimpses of Turing's past and present, including his school days, his wartime efforts, and his post-war experiences. Discussions of his scientific work alternate with scenes of his personal life, including his boyhood love, the unwanted attentions of his female assistant, and his later relationships with younger men, drawing connections between his work and his private life. Because he was unfairly exposed and disgraced by the British secret service as a homosexual, he was crucified for it in the media, and not recognized as a great hero for virtually winning WWII. Alan Turing died in 1954. The screenplay was written by Hugh Whitemore, based on his play derived from Andrew Hodges' book. Herbert Wise directed.

Sugar (2004)

Cliff (Andre Noble) has just turned 18. His 12 year-old sister Cookie (Haylee Wanstall) gives him some vodka, marijuana, and and an order to "go find sex", then sends him to Toronto's gay red light district in the "Gay Village". Emerging from the subway and riding his new skateboard, he scoots off to the hustling district and catches the eye of Butch (Brendan Fehr), a tough druggie hustler. Virgin Cliff decides almost immediately that he wants a relationship with Butch and even brings him home after the first night's encounter. Though the feeling seems mutual, Butch eventually humiliates Cliff in front of one of his clients. The relationship has its ups and downs, but we get to see Butch and Cliff operate in the hustler world. Butch introduces him to a world of sex, drugs, prostitution and life on the streets. Romance blossoms between the two until drugs begin to pull them apart. Cliff wants love, not hustling, and Butch has some ambivalence toward Cliff. The plot moves toward an inevitable result, followed by a twist at the end that shows where Cliff really is.

"Sugar" is based on several short stories by legendary writer and artist Bruce LeBruce, who commented: "The central characters of Sugar, Butch, Cliff, and Cookie, remained pretty faithful to the characters in my stories. I wrote the stories in the eighties, so certain details about the hustler scene were updated, such as the advent of crack...The movie really had a nice punk ethos, I thought. The movie also captured the Toronto hustler milieu, which is very specific." Dark and ugly at times, but realistic and challenging, "Sugar" is about coming out and coming of age. The two leads have good chemistry and the film is provocative and funny. It is worth mentioning that actor Andre Noble ("Twist", "Prom Queen") died in 2004 from eating a poisonous plant while on a camping trip. Todd Klinck wrote the screenplay from LaBruce's short stories, and John Palmer directed.

Beau Travail (1999)

This movie begins in a straightforward manner. Scenes of a nightclub in the African city of Djibouti are followed by an introduction by narrator Galoup (Denis Lavant). He is a former Sergeant Major with the French Foreign Legion who has been court-martialed in France for cruel treatment of a subordinate. The rest of the film takes place in flashbacks and details the events leading up to Galoup's punishment. His downfall occurs because of jealousy and an attraction he has for Gilles Sentain (Grégoire Colin), a handsome new recruit admired by everyone in the troop. Repressed homosexual feelings are strongly suggested. The tensions between the two thicken when Galoup moves the cadets further inland and gives them difficult tasks under the pretext that they are building a road. However, his primary motive is to get away from Commander Bruno Forestier (Michel Subor) in order to confront Sentain without any repercussions. When Sentain helps another soldier, violating Galoup's orders, Galoup sees a chance to destroy him. As a punishment, Galoup drives him out into the desert to make him walk back to the base. But Sentain doesn't return because Galoup has tampered with his compass. Even though Sentain is later found and rescued, Galoup is sent back to France for a court martial. The final scene suggests the possibility of his suicide.

Loosely based on Herman Melville's novella "Billy Budd", this film has a simple plot and not much dialogue. It relies heavily on music to carry the story, from French hip-hop to opera and disco. Parts of the soundtrack are from the opera by Benjamin Britten also based on Melville's novella. The very obvious gay sub-text is strengthened by the homoerotic images of muscular hunky men sweating in the sun, swimming in the ocean, and climbing walls with the contours of their bodies shown with much detail. Written by Jean-Pol Fargeau and Claire Denis, who also directed. The English title is "Good Work", but the language is French with no subtitles

Salut Victor (1989)

Old, tired, and frail Philippe Lanctot (Jean-Louis Roux) movies into an old folks home. The administrator says she wants him to be happy, but he's just waiting to die. Then Victor Laprade (Jacques Godin) enters his room unannounced and draws him out over the next few months. Despite their very different backgrounds, Victor teaches Philippe to experience and enjoy each precious moment, whether sipping the last drops of liquor from a flask, or delighting in merely spending a few moments together. In return, the well-heeled Philippe organizes field trips to dinner and to a botanical garden, and unknown to Victor, becomes the man's benefactor when Victor's children become stingy. The openly-gay Victor also pushes Philippe to acknowledge gay feelings he's always kept suppressed. They are a gay odd couple in the latter years of their lives. Victor is brash, garrulous, and intentionally oblivious to other people's personal boundaries. Philippe is dignified, repressed, closeted, and isolated. During their short-lived relationship each embraces the other lending their best qualities. The friendship that develops between the two is platonic, but Victor admits that if he'd met Philippe when he was younger, things might have turned out differently. The pace drags a bit towards the end, but the film doesn't overstay its welcome. There isn't a lot of action, but the dialogue is lively and the pair have wonderful chemistry. The title gives away the conclusion of the film. Adapted from Edward Phillips's novella "Matthew and Chauncyde", this French Canadian movie was written and directed by Anne-Claire Poirier. The alternative title is "Bye Bye Victor!".

Far From Heaven (2002)

In the fall of 1957 the Whitakers, the perfect suburban family, make their home in Hartford, Connecticut. The Whitakers have two children, and father Frank (Dennis Quaid) manages the local office of Magnatech. Cathy (Julianne Moore) accidentally witnesses her husband kissing another man, and his secret gay life causes her world to start falling apart. She's grateful when Frank reluctantly consents to undergo psychiatric anti-gay treatment. But in her confusion and grief, she finds consolation in the friendship of their Afro-American gardener, Raymond Deagan (Dennis Haysbert)-- a socially unacceptable relationship that leads to the further disintegration of her life. Ray is educated, sensitive, soft-spoken, gentle, and the single father of a young daughter. Cathy is faced with choices that create gossip in her community, and change several lives forever. Despite Cathy and Frank's struggle to keep their marriage afloat, the reality of his homosexuality and her feelings for Raymond open a painful and more honest chapter in their lives. Finally, thinking everything is alright again with Frank, Cathy and her gay spouse go for a winter vacation in Miami, a place populated with handsome young men.


This film mixes both sexual and racial prejudice with such a stylized veneer that it is emotionally compelling. The "look" of the film is superb, recreating the fashion, cars, home and office decor, and technology of the period to an uncanny degree. Plus the cast and filmmakers have such an impeccable command of the look and feel of the genre that every moment is deeply felt. Written and directed by Todd Haynes

Raising Heroes (1996)

Josh Sullivan (Troy Sostillio) and Paul McEwen (Henry White) are a happy gay couple just three days away from the most important event of their lives--adopting a son, Nikki (Nicholas Siljee). He is the son of Susan, a friend of Paul who died of cancer and willed that Paul and Josh raise her son. Nikki's grandmother opposes the adoption and there is a heated custody battle. On his way to a custody hearing, Josh accidentally witnesses some gangster killings in a deli, but does not notify the authorities or tell his lover. Unfortunately, the mobsters know who he his, and don't believe he will remain silent. The mob sends the son of the mob boss to silence him, but a scuffle occurs and Josh pushes the assasin out the window and continues to keep up appearances. When this fails, Josh finally tells Paul what is happening, and together they address the situation exactly like action heroes in mainstream movies, sending the couple into a world of deadly deceit, double-crosses, and violence. Theres a twist in the plot, but in the end Paul and Josh survive a bullet-riddled showdown that pushes their relationship and lives to the limit. Finally they win custody of Nikki.

The story doesn't seem credible, partly because it was written, produced, directed, and edited by the same individual. Director Dough Langway turns the action genre on its heels with this independent film--the world's first gay action movie. Lawrence Feber of Time Out New York wrote, "This crowd-pleasing, gengre-bending, gunslinging gay love story will blow you away!" and XY Magazine called it, "The most important gay film of the decade."

Paul Monette: the Brink of Summer's End (1996)

This biographic documentary is a tribute to Paul Monette, the gifted gay writer whose death in 1995 brought an early end to a promising career. The film examines his childhood in Massachusetts, his close family life, his school experiences, and his struggle with his sexuality. Readings from Monette's work punctuate interviews with the author, his brother, and friends. Home movies and photos reveal Monette's love of life nearly as well as his words. "Becoming A Man", "Borrowed Time", and "Last Watch of the Night" are masterpieces of gay literature that uplifted a generation of men who were imprisoned in the closet, and inspire another generation who can now be proud of themselves and those they love. Paul Monette left more than a legacy of words about the experience of living with and dying from AIDS. He left all of us with the strategy to "go without hate, but not without rage. Heal the world."

Originally planning to make a documentary that profiled several gay people, director Monte Bramer and producer Lesli Klainberg changed their minds after meeting Monette. "It was a magical three hours," Bramer said of this initial meeting. "We knew then that here was a subject of a major documentary." The film was a big hit at the 1997 Sundance Film Festival, picking up the coveted Audience Award for Best Documentary. Jon Ehrlich composed the incidental music and Monte Bramer wrote the script and directed.

La Virgen de los sicarios (2000)

Fernando (Germán Jaramillo) is an author in his fifties who has returned to his crime-ridden drug capital hometown of Medellin, Colombia. He meets Alexis (Anderson Ballesteros), a handsome gay 16-year-old assassin at a party and immediately falls for him. The two begin a relationship consisting of sex and Fernando telling Alexis how pastoral the city was when he left. Alexis explains about robbery, violence, and shootings. Even though Fernando has come home to die, his negative worldview is mellowed by Alexis. He soon discovers that Alexis is a gang member and sicario (hitman), and members of other gangs are after him. Several assassination attempts fail, but he is finally killed by two boys on a motorcycle. Fernando is partly responsible for this, because Alexis' weapon had been lost before the murder due to Fernando's suicidal impulses. Fernando visits Alexis' mother (Cenobia Cano) and gives her some money, and then walks through the streets aimlessly where he meets Wilmar (Juan David Restrepo), who bears a striking resemblance to Alexis. He and Wilmar begin an affair, the kind of relationship he had with Alexis. Wilmar is also a killer, but it is a shocking revelation to Fernando when he finds out that Wilmar is the one who shot Alexis. He vows to kill Wilmar, but then learns it was Alexis who started the violence by killing Wilmar's brother. When Wilmar goes to say goodbye to his mother before he and Fernando leave the country, he is killed as well. Realizing that the vicious cycle of murders in Medellín denies happiness, Fernando presumably commits suicide, but the last scene is ambiguous.

According to the director, the relationship between Fernando and Alexis is patterned on Greek pederasty, where "not only was a boy learning from an adult, but an adult was also learning from the boy. It's a two-way relationship, especially in this movie, where the writer discovers things about the new realities of his town that he would never know otherwise. And obviously, the boy has everything to discover from this adult." The film was shot with high-definition digital video cameras, giving the movie a cinéma vérité look. Fernando Vallejo wrote the screenplay from his novel. Barbet Schroeder directed. The English title for this Columbian/French movie is "Our Lady of the Assassins".

Boca a Boca (1995)

Aspiring actor Víctor Ventura (Javier Bardem) for financial reasons works for a phone-sex company, thrilling the men and women of Madrid with his repertoire of exciting sex conversations. Auditioning for acting roles is more humiliating than being paid to talk dirty to strangers, and the phone job is actually a more interesting professional challenge. The film mixes soft-core seduction with pratfalls. For example, there is a zipper mishap to interrupt a strained heavy-breathing episode. Events escalate once Victor, who took the phone sex job without expecting to meet Ms. Right, finds himself falling for Amanda (Aitana Sánchez-Gijón), who is one of his clients. She says that her husband Bill Ricardo (Josep Maria Flotas), a homosexual who is one of his best clients, has also had phone-sex with Victor, which leads to more complications.

One of the film's funny scenes has Victor being told by his agent Angela (Maria Barranco) that he looks too American to land a role in a big American movie. To compensate for this, he turns up with open shirt and slicked-back hair, smoldering dramatically as he kisses the hand of an American talent agent. Victor encounters a bratty American filmmaker whose combination of ignorance and arrogance makes him an easy target. Later Victor launches into a raging diatribe in a restaurant when the guy orders Coca-Cola, and ends up impressing everyone with a show of his acting talent. The film adds transvestite waiters to this scene, sets some of its action in a phone sex disco and lets Amanda appear in blond, red and dark wigs at different times. Most of the characters are play-acting, which gives the movie a chance to satirize show business and artificiality. Although the comic possibilities of phone sex have been exhausted, this farce gives this worn out topic a go. Written by Juan Luis Iborra and Manuel Gómez Pereira, who also directed. The English title is "Mouth to Mouth".

Victim (1961)

Until 1967 homosexual acts between consenting adults were illegal in Britain. In the USA this film was banned, and it played an influential role in liberalizing laws regarding homosexuality. Jack Barrett (Peter McEnery) is found hanging dead in his jail cell. He was incarcerated for allegedly embezzling money from his company, which he admitted to the police. However, the truth is he took the money because he was being blackmailed for being a homosexual. After the suicide, Melville Farr (Dirk Bogarde), a married lawyer, with the help of Barrett's gay friend Eddy Stone (Donald Churchill), tries to find others who are being blackmailed. Is Farr doing this to pay the blackmailers money in return for the incriminating evidence against him (innocent photographs of Farr and Barrett) or does he want to stop the blackmailers from targeting other homosexuals? The educated police Detective Inspector Harris (John Barrie) considers the sodomy laws nothing more than an aid to blackmailers and helps Farr. The blackmailers vandalize Farr's property, writing "Queer" on his garage doors in an attempt to intimidate him. But Farr helps the police catch them and promises to give evidence in court, even if it means destroying his career. At the end of the film, Farr talks to his wife Laura (Sylvia Syms) and burns the picture that originally incriminated him.

"Victim" was the first English language film in history to use the word "homosexual". It is the first mainstream film to portray sympathetically and realistically homosexual society, at a time when homosexuality was still a crime, when to be gay was a matter of secrecy and shame. Janet Green and John McCormick wrote the screenplay. Philip Green composed the music and Basil Dearden directed.

Six Degrees of Separation (1993)

In this film a gay black con artist cunningly maneuvers his way into the lives of a white, upper-class NYC family. Flan (Donald Sutherland) and Louisa "Ouisa" Kittredge (Stockard Channing) are rich art dealers. One night they are called on by a wounded young man Paul (Will Smith), who claims to be a friend of their son and daughter from Harvard. Paul says he was mugged in Central Park and is the son of Sidney Poitier. Over the evening Paul flatters the couple and a business guest they are hosting with his tall tales and fascinating life stories. He claims that his famous father is casting a film version of "Cats" and offers his hosts roles as extras in the film. They offer him a bed for the night, and he enchants them with a home-cooked meal and eloquent conversation. The next morning, they find that Paul is not who he claims to be. When they investigate the life of Paul, they find the hidden truth. Their investigations are intriguing and lead them to re-evaluate their lives. The plot is notable for the disparity it reveals between the wealthy and the have-nots yearning to be rich. It is interesting that it is the gay member of the cast who serves as the crossover person. The end concludes on a comic rather than tragic note.

Six degrees of separation refers to the idea that, if a person is one step away from each person they know and two steps away from each person who is known by one of the people they know, then everyone is an average of six steps away from each person on Earth. Sutherland, Channing, and Smith deliver excellent performances in a great movie. John Guare wrote the screenplay from his hit Broadway stage play. Fred Schelpisi directed.

Crocodile Tears (1998)

This movie is a modern "Faust" about bitter gay art teacher Simon Desoto (Ted Sod) who learns he is HIV-positive. He speaks the first lines, "There's this friend of mine. He's HIV-positive. Its not me. Don't even begin to think I'm talking about me." Because he had a friend who suffered from AIDS before choosing to commit suicide, Simon panics and writes to the devil for help. Evil Mr. Cheseboro (William Salyers) offers the gift of health if Simon will become a straight stand-up comic who specializes in racist, sexist, anti-semitic, and homophobic humour. Plus Simon's former lover Carl (Dan Savage) must die instead. Satan is a redneck junior high school principal who plays the accordion, and Simon agrees to the deal and becomes a huge success in show biz, with the audiences laughing hard at his offensive jokes. The simple plot with a twist continues in an outrageous, heavy-handed, but uninteresting way. It doesn't fit together very well, and the film is disappointing. "Crocodile Tears" is an original version of the "Faust" legend, and the acting, sets, and production values are OK for a low-budget independent movie. Ann Coppel directed this dark comedy, adapted by executive producer and actor Ted Sod from his own AIDS-themed play "Satan and Simon DeSoto".

Breaking the Surface: The Greg Louganis Story (1996)

This film is about is about the tough times Greg Louganis (Mario López) had on his way to becoming one of the world's top Olympic divers. Gregory ("Greg") Efthimios Louganis is an American diver, who is best known for winning back-to-back Olympic titles in both the 3 m. and 10 m. diving events. He received the James E. Sullivan Award in 1984 as the top amateur athlete in the United States. Louganis is of Samoan/Swedish descent and was raised in California by his adoptive parents, a Greek-American couple. At age 16, he took part in the 1976 Summer Olympics in Montreal, where he placed second in the tower event. Two years later, he won his first world title in the same event. He was a favorite for two golds in the 1980 Summer Olympics in Moscow, but an American boycott of the games prevented him from participating. Louganis won two world titles in 1982, and in the 1984 Los Angeles Olympics, with record scores and leads over his opponents, he won gold medals in both the springboard and tower diving events. After winning two more world championship titles in 1986, he repeated his 1984 feat in the 1988 Seoul Olympics, although not without difficulties. In what is considered one of the greatest feats in sporting history, Louganis suffered an injury, hitting his head on the diving board during the preliminary rounds while performing a reverse 2 1/2 pike. He completed the preliminaries, despite a concussion, then went on to repeat the dive during the finals, with nearly perfect scores, earning him the gold medal. His incredible comeback earned him the title of ABC's Wide World of Sports Athlete of the Year for 1988.

Louganis posed nude for Playgirl magazine in 1987. In 1994 Louganis announced he was gay and took part in the 1994 Gay Games as diving announcer. He also performed an exhibition of several dives to a standing-room only crowd of nearly 3,000 spectators. Following the announcement of his HIV status, Louganis was dropped by most of his corporate sponsors, with the exception of the aquatics gear manufacturer Speedo, which continues to sponsor him as of 2007. Based on the superior book by Greg Louganis and Eric Marcus, this made for TV movie is a very good profile of an impressive star athlete. Steven Hilliard Stern directed.

Staircase (1969)

Charles Dyer (Rex Harrison) and Harry Leeds (Richard Burton) are a middle-aged gay couple that have been living together for nearly 20 years. Both earn a living as barbers in the West End of London and both care deeply for their mothers, but not each other as time apart takes its toll on their relationship when Harry has to care for his invalid mother who constantly snaps at him. Harry is round, fearful, fussy, and possesses a terrible secret. His head underneath the fake surgical bandages is bald. Charlie, in his fifties and still handsome, is a waspish queen who favors tight pants and a little make-up around the eyes."It's permitted now, you know, Harry. It's permitted," says Charlie, who says everything twice. That is just one of the things that drives Harry nearly crazy. Harry and Charlie are exploited as gay freaks, because Burton and Harrison are interesting actors whose styles command attention even when the material does not. "Staircase" is essentially a stunt movie, full of substitutes: false teeth, false hair, and feminine pronouns for masculine.

What story line there is concerns the increasing tension between Harry and Charlie as the latter prepares to answer a summons for having appeared at the Adam's Apple nightclub in drag, or, as the summons put it: "in a manner calculated to bring depravity." Harry reassures Charlie that everything will be all right, and Charlie, in turn, can't resist heaping insults on Harry, whom he describes as flabby, wrinkled, paunchy, freckled, sagging, bloated and veined, among other things. But so is everyone in the film, from the male hustler Charlie brings home one night to Harry's arthritic old mum (Cathleen Nesbitt), who lives with Harry and Charlie. The movie, like Charlie, says everything at least twice, and Charlie's mum is no better, a 90-year-old lady whose mind is turning to pudding in an old people's home, but who comes to her senses long enough to scream "Sodomite!" when Charlie comes to visit. The two stars seem uncomfortable, perhaps to call attention to the real distance that exists between the actors and their roles.

The film is adapted from Charles Dyer's 1966 two-character play with the action taking place over the course of one night as they discuss their loving but often volatile past together and possible future without each other. Dyer adapted his play for the movie and opened up the script to show the couple's neighborhood, expanded the action to cover a period of ten days, and added characters. The music score was composed by Dudley Moore. Stanley Donen directed.

As Good as It Gets (1997)

Set in NYC, Melvin Udall (Jack Nicholson), is a cranky, bigoted, misanthropic writer who has his life turned upside down when neighboring gay artist Simon Bishop (Greg Kinnear) is brutally beaten and hospitalized. His dog Verdell is entrusted to Melvin. He insists on sitting at the same table at the same restaurant each day. Carol (Helen Hunt), the only waitress who will tolerate him, must leave work to care for her sick son, making it impossible for Melvin to eat breakfast. Because his obsessive-compulsive disorder requires a structured routine for him to maintain his sanity, Melvin arranges for a doctor to help her son at no charge. She shows up at his doorstep in the rain and tells Melvin she will never have sex with him. Melvin and Carol drive Simon to his parents in Baltimore to obtain money. They return to Manhattan, and Simon learns that Melvin has taken him in because Simon's apartment has been sublet, allowing Simon an opportunity to get back on his feet. Carol and Melvin resume their attempts at a relationship, with Carol resignedly telling Melvin it won't work because, "All you do is make me feel bad about myself." In unfamiliar territory, Melvin struggles to compliment Carol. He goes on to say that she represents everything that is good and right in the world, the balance he needs to deal with his disorder, and life in general. They kiss. The movie ends with Carol and Melvin walking into a bakery early in the morning, and Melvin no longer compulsively avoids sidewalk cracks.

Jack Nicholson won a Best Actor Oscar, and Helen Hunt won a Best Actress Oscar for their performances in this witty romantic comedy. Enough said? Mark Andrus wrote the screenplay from his own story. James L. Brooks directed.

Outrageous! (1977)

Gay Toronto hairdresser Robin Turner (Craig Russel) is a very talented female impersonator who does an act in local gay clubs. His roommate is Liza Connors (Hollis McLaren), a high-school friend who is now pregnant and recently released from a mental hospital where she was being treated for schizophrenia. She is determined never to return to the hospital again, and he wants to be a show-business success with his impressions. When Robin loses his job, the two try their luck in NYC at the "Jackrabbit Club". His perfect impressions of Bette Davis, Barbra Streisand, Carol Channing, Tallulah Bankhead, and Mae West make a splash. But as Robin's star rises, Liza spirals into misery and madness. Robin and Liza need each other, and this can be explained by their total acceptance of one another. They both have to take chances in life, but as Robin says, people treat, “life as though it’s a can of Coke, and they’re afraid to drink it too fast.” Hunky gay cab driver Bob (David McIlwraith) meets them, and as a former talent agent agrees to represent Robin and gets him a job at "Ziggy's Cabaret", where he becomes their sensational star attraction. Liza goes to the hospital to give birth, but the baby is stillborn. She goes into a deep depression, believeing she is "the one born dead." Robin replies "You're not dead. You're alive and sick and living in New York like eight million other people." He tells Liza that yes, she's crazy, but she has to make that crazy work for her. "You’ll never be normal," he says, "but you’re special.” The film ends with Robin and a recovering Liza dancing madly together.

This show-business cult comedy with a twist is a great, touching, and sincere 1970's period peice with charming performances by all. It's a gay classic with sad and campy fun moments. Craig Russel's many impersonations are the best in cincema history. He worked as the private secretary to Mae West, so he could impersonate her perfectly. Richard Benner directed from his own script based on Margaret Gibson Gilboord's short story.

"Too Outrageous" (1987) is the somewhat disappointing sequel to "Outrageous!". It is a better production, with a bigger budget, better cast, and Craig Russell has a very attractive boyfriend. Robin Turner, the hairdresser-turned-female impersonator who began his nightclub routine in the earlier film, is still playing in small clubs, and his devoted friend Liza Connors (Hollis McLaren) hasn't yet fulfilled her dream of becoming a successful writer. The film tells what happens after Robin is discovered by a pair of agents who are intent on making him a big star. The agents, particularly a woman named Betty (Lynne Cormack), gush about what great potential Robin has, and dream of revamping his act so antiseptically that they can bill him as ''Canada's Comic Illusionist", instead of the specialty performer that he really is. Robin gets even when he appears on a live talk show and lets the world know that its host is gay. They deal with AIDS in this one, but it seems out of place with the rest of the movie. Russell works best when left to his own devices. He's better off wisecracking and performing than he is anguishing over his professional future. The film also features a female impersonator named Jimmy James, who looks uncannily like Marilyn Monroe, and Robin exclaims "He's good!". Once again Richard Benner wrote the script and directed.

Apartment Zero (1988)

Set in Buenos Aires, the film centers around a relationship between two roommates. Adrian LeDuc (Colin Firth) is a lonely sociopath who is forced to rent out his crazy mother's room due to poor ticket sales at his revival-house cinema. Jack Carney (Hart Bochner), the mysterious new roommate, appears normal, charming, and outgoing at first but it becomes apparent that he is hiding something. They quickly settle into a domestic routine, with Adrian taking over laundry and cooking duties for Jack, and they also begin to bond emotionally. As their friendship develops, Adrian is attracted to him and suppresses his suspicions that Jack may be the government mercenary turned serial killer who has been terrorizing the city. Dead bodies are found in the streets, murdered for political reasons. The other eccentric residents of the building begin to worry as Adrian shows increasing signs that his mother's insanity may be hereditary. Jack has sex with a female neighbour, and it is implied that he also has sex with two male neighbours. Then he falsifies Adrian's passport and prepares to leave Argentina. Unfortunately, the passport is expired and he can't leave. Jack picks up a gay man at the airport and goes to a hotel with him, where he murders him for his passport. Adrian is devastated by the death of his mother, and Jack turns out to be Michael Weller, listed as "dead" by the death squd. Jack kills Claudia (Francesca d'Aloja), the ticket seller at the cinema and part of the committe investigating the political murders. Adrian helps dispose of the body, then eventually kills Jack. The shocking climax of this twisted tale of deceit, perversion and murder reveals the darker side of the human psyche. Suffused with homoerotic overtones and moments of black comedy, the name "Apartment Zero" comes from apartment number, 10 with the 1 missing. Martin Donovan wrote the screenplay and directed.

Tantrums & Tiaras (1997)

This documentary is about gay musical composer Sir Elton John during 1996. With unprecedented access to the star, it's a fascinating, funny, and honest fly on the wall look at the temperamental artist directed by his civil partner David Furnish. Excellent concert and behind the scenes footage leaves nothing to the imagination. Foul language abounds, but it all adds to the magic of this fascinating insight into one of Rock's most successful solo artists. Elton's tantrums are abundant, his performances on this film are great, and there is never a dull moment. There are only two major tantrums. In the first Elton becomes upset during a video shoot for "Believe", saying he hates making music videos. His second tantrum occurs when he is playing tennis and is recognized by a fan. Throwing the racket, he stomps off court, returns to his hotel, and makes arrangements to fly home. Later, we find out Elton had calmed down and canceled his plans to leave.

One interesting scene in the film comes when Elton John's mother sits down with her son to discuss his career. When she begins to recall his drug use in the 1970's, she asks that the camera be turned off. After Elton reminds her they agreed to do this in front of the camera, she continues the story and starts to cry. We are also briefly introduced to his very elderly grandmother. Elton is very open about his addictions to drugs, food, and shopping. He talks about his contract with his record company and the fact that his relationship with them is very good. The DVD has a 2008 audio commentary by Elton and David Furnish reflecting on the changes since 1996. There are also 11 deleted scenes, and they are all good. This made for TV documentary is a fine portrait of a legendary rock star. David Furnish directed.

À toute vitesse (1998)

This French drama explores the complex relationships between gay and straight youths in multi-racial France. During the prologue, shy Algerian teen Samir (Mezziane Bardadi) and his best friend Rick (Romain Auger) rub bloody fingers together as they make a blood-brother's pact. Suddenly a shot rings out and Rick dies of a bullet wound in Samir's arms. Gang leader Jimmy (Stéphane Rideau) is best friends with sensitive writer Quentin (Pascal Cervo), who wants to turn his back on his friends to pursue his career. He won a writers contest and signed a contract to publish his first book, a chronicle of his friends' activities. Now he pays more attention to his career as an author than to his friends or his girlfriend Julie (Élodie Bouchez). Meanwhile university student Julie is becoming attracted to Jimmy, while bereaved Samir is in love with Quentin, who meets him at a party one night. Interested in finding more material for a second book, he gets Samir to tell about his relationship with the late Rick. It's difficult, but Samir complies even as he finds himself increasingly attracted to Quentin. When Quentin rejects Samir, it encourages him to reject his own past and enter into an intense relationship with Jimmy and Julie that will end up changing his life.

Out" magazine wrote that "À toute vitesse" "plays like a modern "Rebel without a Cause'" or "Splendor in the Grass", but this movie never really gets out of first gear. Although it was an official selection at the Cannes Film Festival, it is somewhat of a disappointment. Paying tribute to the rush associated with reaching the age of 20, this fast-paced sexually charged drama with the metaphor of speed to life lumbers a bit in its symbolism. It has its moments, but its aim seems to meander a bit, leaving a few loose ends. Cinematically the film is strong, especially as a debut film for its director, Gaël Morel--who also wrote the screenplay with Catherine Corsini. The English title is "Full Speed".

Taxi zum Klo (1981)

Frank Ripploh (Frank Ripploh) is a bearded and shaggy-haired teacher. He's gay with a very active sex life and an interest in making films. Frank keeps his personal life and teaching separate, but he sometimes corrects student papers in public toilets as he waits to score. He cruises in porn cinemas, where one night he meets Bernd (Bernd Broaderup), a theater manager. They share a romantic relationship, but Frank's restlessness and need to cruise get in the way. Though he seems to enjoy Bernd's plans for retirement, he also wonders if he'll ever lose the urge to hunt the streets after dark, and have enough money after retirement to hire young boy prostitutes. While Bernd is attentive and caring, Frank gets bored and continues his promiscuous lifestyle. An explicit sex scene occurs mid-film and upsets Frank and Bernd's domestic bliss. How long will Bernd and Frank tolerate each other's habits, and for how long can Frank keep his sexual orientation out of the classroom? Ripploh's hairy bum crack plays a major role in proceedings--it's the first object we see in the movie, and he spends most of his home time in a T-shirt only, bending over and doing calisthenics with no underwear. One scene has Frank at the doctor for an anal wart examination, and nothing is left to the imagination. A lot of old black and white German gay porn is interspersed throughout. Things come to a head during Berlin's annual Queen's Ball and the morning after. The film ends with a pleasant party scene and everyone seems fairly happy with the free atmosphere and gay sex.

Director Frank Ripploh takes an autobiographical approach to filmmaking with this comic exploration of gay life in Berlin in which he plays himself. He also wrote the script. This edgy, intelligent movie has a high status in the history of gay-themed cinema. The Village Voice called it, "The first masterpiece about the mainstream of male gay life". Wayne Koestenbaum called it one of the greatest gay-themed films ever, and said it still blows his mind with its "happy explicitness, its cheerful liberatory politics". In German with English sub-titles, the English title is "Taxi to the John".

Dorian Blues (2005)

Dorian Lagatos (Michael McMillian), a small town young man in upstate New York, is in his final year of high school. He knows he's different and understands why when he reaches the conclusion that he's a "stereotypical gay." Dorian is a social outcast and the butt of his classmates' fag jokes at school. He meets another gay youth locally, but remains confused. So he tries "therapy" with an alcoholic counselor and a psychologist he comes on to, resorts to confession in the Church, and finally comes out to his athletic brother Nicky (Lea Coco). The latter teaches him how to fight and tries to have him spend a night with a prostitute to make him become straight, but it doesn't work. When Dorian decides to come out to his homophobic father Tom (Steve Fletcher), he gets kicked out of the house. He moves to NYC where he discovers a new world of coffee houses, sophisticates, and handsome men. Soon Dorian finds a boyfriend, but gets dumped after two months. His brother visits him and they learn their father has died of a heart attack. At the funeral, his mother Maria (Maureen Quigley) tells him she regrets not stopping his father from being angry with him.

A refreshing and witty coming of age comedy, "Dorian Blues" is a bright, cheerful film about a gay teenager coming to terms with his identity. This critically acclaimed gem won eight awards at the first nine film festivals it screened at and eventually won a total of 14 awards. Written and directed by Tennyson Bardwell, it is loosely based on Bardwell's college roommate.

Testosterone (2004)

Dean Seagrave (David Stucliffe) is a troubled and depressed gay novelist who found success with his novel "Teenage Speed Freak", which was a semi-autobiographical account of his teenage years. Suffering from writer's block, he hasn't written a book in a long time. His fans pressure him to write a new novel and his publisher Louise (Jennifer Coolidge) keeps hounding him and is mean to him. On probation for assaulting an elderly woman, he is also living with a low amount of money in LA. Dean misses his Argentine lover Pablo (Antonio Sabato Jr.), who left their California beach house saying he was going to get cigarettes, but disappeared. This troubles Dean because Pablo was the answer to all of his problems. Unable to work, sleep, or even shave, Dean throws some clothes in a bag and books a flight on Aerolineas, Argentinas. In Buenos Aires, Dean frantically tries to track down Pablo, but this is more difficult than he expected. In addition to the language barrier, Dean discovers that most people he encounters are not what they seem. By the time Dean and Pablo are re-united, the lines between art and life, resolution and revenge, man and maniac, have gone fuzzy. Dean abandons his better judgment, and with a broken heart and testosterone pumping through his veins, plans to have one last talk with Pablo. This comedy/drama is a film adaption from James Robert Baker's novel "Testosterone". It was filmed in Los Angeles, California at the beginning and later in Buenos Aires, Argentina. Dennis Hensley wrote the screenplay and David Moreton produced and directed. The film is also known as "Clean Cut".