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Authors striving for authenticity in their work often engage in extensive background research, sometimes of a firsthand nature, to get things right. However, when it comes to writer-director Mikko Mäkelä’s second (and inexplicably much-applauded) feature, I have some serious reservations about its applicability here. This tale of a talented young London-based author of award-winning short stories and magazine pieces is embarking on his first novel, an inside exposé of the lives of gay male sex workers. To find out what these experiences are like, the ambitious emerging wordsmith, Max Williamson (Ruaridh Mollica), decides to investigate the subject by becoming an escort, arranging hook-ups through an internet website under the pseudonym “Sebastian.” But, the more involved he becomes in his research, the more he becomes consumed by it, unsure how to keep control over it. Strangely, though, there are also times when he’s apparently ambivalent about it, going to great lengths to keep both his hustling work – and even his sexuality – a secret. Is he trying to keep from being discovered by his clients and writing peers, or is he a closet case who, quite ironically, hasn’t fully come to accept himself (not even coming out to his own family)? In any event, he engages in a string of diverse encounters that leave him – and viewers – wondering about exactly where he’s going with all this, including a somewhat baffling, unexpected budding romance with an older gentleman (Jonathan Hyde). This plethora of mixed motivations is where the film gets itself into trouble, hopelessly meandering in multiple, seemingly contradictory directions, raising questions about what the filmmaker/screen writer actually had in mind, as well as how diligent he was in doing his homework in crafting the story. “Sebastian” thus often comes across like a series of sexual escapades with a poorly conceived story wrapped about them, many of which end up falling back on well-worn, outdated gay cautionary tale tropes. The film also incorporates some implausible developments involving the publishing business, stretching the picture’s credibility even further. In light of this, then, it’s hard to fathom how and why this offering has received as many accolades as it has, especially as a potential candidate for awards season recognition. In my view, this release needs major retooling, not only to provide a more focused narrative, but also to strengthen its character development to something more believable and something that generates a more viable audience connection. To be sure, there are many fine LGBTQ+ movies out there these days that are genuinely worthy of praise and recognition – but this overrated production certainly isn’t one of them.
A writer tries unsuccessfully to sell his screenplays and plays. He marries a television editor, but she only wants to fuck him and thinks nothing of his work. He then remembers his old Parisian lover Rita, calls himself Rita from then on and becomes her wife. When a French director stages a play of his, he meets Rita again in Paris and the two women become a happy couple.
In the 1930s, Count Almásy is a Hungarian map maker employed by the Royal Geographical Society to chart the vast expanses of the Sahara Desert along with several other prominent explorers. As World War II unfolds, Almásy enters into a world of love, betrayal, and politics.
Matti and Niila, growing up in the mid-sixties in the harsh and conservative environment of a Finnish-speaking part of Tornedalen in Swedish Laponia, close to the Finnish border. Their big dream is to become rock stars. In the present the now grown-up Matti feels guilt for the death of his drug-addicted rock star friend Niila.
George, host of a television show focusing on literature, receives videos shot on the sly that feature his family, along with disturbing drawings that are difficult to interpret. He has no idea who has made and sent him the videos. Progressively, the contents of the videos become more personal, indicating that the sender has known George for a long time.
Lichter is an episodic tale from Hans-Christian Schmid about the life on the border between Germany and Poland. The film sheds light on the everyday stories of escape and desperateness.
Ben Sanderson, an alcoholic Hollywood screenwriter who lost everything because of his drinking, arrives in Las Vegas to drink himself to death. There, he meets and forms an uneasy friendship and non-interference pact with prostitute Sera.
Jess Bhamra, the daughter of a strict Indian couple in London, is not permitted to play organized soccer, even though she is 18. When Jess is playing for fun one day, her impressive skills are seen by Jules Paxton, who then convinces Jess to play for her semi-pro team. Jess uses elaborate excuses to hide her matches from her family while also dealing with her romantic feelings for her coach, Joe.
In this loose adaptation of Shakespeare's "Henry IV," Mike Waters is a hustler afflicted with narcolepsy. Scott Favor is the rebellious son of a mayor. Together, the two travel from Portland, Oregon to Idaho and finally to the coast of Italy in a quest to find Mike's estranged mother. Along the way they turn tricks for money and drugs, eventually attracting the attention of a wealthy benefactor and sexual deviant.
Shipped off to a Romanian orphanage to finish his sentence, a British criminal finds romance but also discovers corruption inside the facility.
Tano is 16-years-old and is already sitting in jail. In 48 hours he’s a free man and off to the wedding of his brother. In the two days he recounts his neighborhood in a section of Sevilla.
One day at work, unsuccessful puppeteer Craig finds a portal into the head of actor John Malkovich. The portal soon becomes a passion for anybody who enters its mad and controlling world of overtaking another human body.