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When is something sinful, and when is it not? It’s hardly a clear-cut matter; what someone might see as perfectly acceptable is utter heresy for someone else, despite the fact that the same issue is up for debate in each of those cases. And it’s this question that’s explored in writer-director Marwan Mokbel Elessawi’s second feature outing about an Egyptian-American gay couple who visit the homeland to handle a family emergency and end up undergoing a frightening, unexpected supernatural experience. One of the partners, Mo (short for Mohammed) (Junes Zahdi), who has spent most of his life in the US and has had little contact with his family for years, is unaccustomed to the lack of tolerance he experiences compared to his life in America. Yet, despite sincere efforts to maintain a low profile, he soon discovers that there may be those who know about his “sinful” secret – and who seek to inflict evil deeds upon him for his allegedly wicked ways, experiences that prompt Mo to question his own behavior. But aren’t those gestures perpetrated against him innately as evil as what he’s supposedly guilty of? While these acts are served up in the guise of witchcraft, the narrative draws upon them as metaphors for the narrow-mindedness of fanatical religious fundamentalism. These incidents thus place the beleaguered protagonist in a position of having to assess his beliefs about himself and what’s unfolding around him, issues that hearken back to his youthful upbringing and prompting him to examine his current behavior. The result is an admirably ambitious effort at exploring the key question raised above. Unfortunately, the picture doesn’t address it as clearly as it might have. While this offering starts out strong and finishes well, it stumbles in the middle, getting caught up in an array of confusing story threads that go on too long and ultimately yield more muddle than riddle. Although the film provides a detailed look at the rites and practices of Egyptian witchcraft, there’s a definite TMI quality about this that doesn’t allow the narrative’s symbolic elements to come across as unobstructed as they might have otherwise. I appreciate the sentiment that this one was going for, but it’s regrettable that it didn’t carry it off as well as it might have. It really is true that less can be more.
Hannah, an aspiring young actress, has dreamed all her life to make it big in America. When this dream doesn't come true, she must learn to live life back home again and heal past relationships.
Like the perfect ending of a great film - that is the way filmmaker João describes the end of his 10-year relationship with Hugo. Despite breaking up, they remained best friends. However, reentering the dating scene brought a whirlwind of emotions, revealing that reality can’t be controlled like a movie script.
An obsessive mother, on the verge of a nervous breakdown. A father, carefully blotted out from all the family photos and a dreadful child-psychiatrist with unconventional methods - This is the summary of young Hazel's life, secretly attracted to boys...
Samuel, the last free-diving fisherman, has lived isolated in the island of La Aguja since he was abandoned by his wife and son 15 years ago. His life is disrupted when his son shows up now as Priscila, a transgender prostitute from the streets of Santa Marta, Colombia.
An Original Video Animation (OVA) released in 2 Parts based on the PC game of the same name. The protagonist is Guys, a young boy from a poor family, who gets caught for stealing candy from a Paris store. However, after being railroaded by a city detective named Guildias, Guys finds himself accused, convicted, and sentenced to life imprisonment for the murder of a man he never met. From that point on, most Enzai takes place inside a dark, claustrophobic, dirty prison, in there, Guys experiences humiliation and torture of various kinds, much of it involving sexual acts such as rape and forcible sodomy.
In 1942 in occupied France, a Jewish refugee marries a soldier to escape deportation to Germany. Meanwhile a wealthy art student loses her first husband to a stray Resistance bullet; at the Liberation she meets an actor, gets pregnant, and marries him. Lena and Madeleine meet at their children's school in Lyon in 1952 and the intensity of their relationship strains both their marriages to the breaking point.
In a touring Shakespearean theater group, a backstage hand - the dresser, is devoted to the brilliant but tyrannical head of the company. He struggles to support the deteriorating star as the company struggles to carry on during the London blitz. The pathos of his backstage efforts rival the pathos in the story of Lear and the Fool that is being presented on-stage, as the situation comes to a crisis.
A handsome Belgian sailor on shore leave in the port of Brest, who is also a drug-smuggler and murderer, embarks upon a voyage of highly charged and violent homosexual self-discovery that will change him forever from the man he once was.
10-year-old Pixote endures torture, degradation, and corruption at a local youth detention center where two of its members are murdered by policemen who frame Lilica, a 17-year-old trans hustler. Pixote helps Lilica and three other boys escape and they start to make their living by a life of crime which only escalates to more violence and death.
Peter and Katarina are at a marital crossroads, but, when he brutally kills a burlesque dancer, their domestic squabbles are rendered trivial by comparison. In the wake of the crime, the film backtracks, painting a portrait of the fraught union between Peter and Katarina. When does a marriage go bad? What causes a member of the German bourgeoisie to murder an innocent woman?
A man seeks the numbing comfort of anonymous sex, until a chance encounter which may change his outlook on life. Inspired in part by Andy Warhol's film "Blow Job," this new film brings the arthouse tradition to the gritty streets of contemporary Los Angeles.