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".