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An old saying about those who were once sheltered from the ways of the world but miraculously blossom when exposed to the panorama of life astutely maintains, “How are you going to keep ʼem down on the farm once they’ve seen Paris?” It’s a sentiment that’s equally applicable to many other cosmopolitan, urbane locales, such as the free-wheeling, uninhibited pace of life in Amsterdam, as a gay male couple from a small Dutch town discover when they relocate to the big city to attend film school. In many ways, it’s a dream come true, providing them with an opportunity to cast off the shackles of a restrictive, closeted lifestyle in favor of something eminently more liberating. But is it really the panacea they’ve long hoped for? For Tom (Bas Keizer), it’s more than he bargained for as he struggles to cast off his conservative smalltown ways (including continuing to insist that he’s bisexual and not the out and proud gay man he’s been reluctant to openly acknowledge), while, for his partner, Ajani (Jefferson Yaw Frempong-Manson), it’s a chance to finally cut loose and truly be himself. Tom is also disappointed with his film school experience, finding it difficult to fit in as a would-be arthouse auteur among peers who are far less constrained (and less condescending) in their creativity and artistic sensibilities. Ajani, meanwhile, grows increasingly concerned that his partner is having trouble at school and not availing himself of the city’s unrestrained LGBTQ+ experience, staying stuck in his uptight ways. Over time, these conditions give rise to a disconnect between them, one that threatens the future of their relationship and the end of a dream they had long awaited to fulfill. Writer-director Dennis Alink’s latest provides viewers with an insightful look into the urban gay lifestyle in both its positive and negative attributes, not to mention how two seemingly likable characters can both be major jerks when they want to be, both with their emerging circle of friends and with each other. Shot in stunningly gorgeous black and white in quasi-documentary style, the film serves up an array of both gorgeous and “ugly” imagery, giving audiences an unfettered look at a community that clearly has two sides to it. Admittedly, the narrative at times meanders a bit too much for its own good, but it generally does a commendable job at showing rather than telling in conveying its message, making its points and presenting its story. “Out” is a film that earnestly makes clear “gay” doesn’t always equate to “happy,” but it also lets us know that the satisfaction level of our experience depends heavily on what we ultimately do – or don’t do – with it.
Kristian, who is a transvestite, still lives at home with his mother Emma, because she loves him just the way he is. Life as a transvestite offers many humiliations from the outside world, but with his mom, Kristian feels that he can be himself. Until one day when Emma meets the alcoholic Søren, who does not have the same tolerance...
After years in hiding and struggling to control his demons, an eccentric drifter returns home and discovers that his childhood abuser, the center of his pain, is still alive.
When a banker invites a sex worker to his London apartment, he finds himself coming face to face with both his own past, and one of the world's largest humanitarian crises.
When Wyatt returns home for the holidays to try to convince his mom to sell their family ranch, an unexpected romance with handsome ranch hand Heath may throw off his plans.
Flavio, immersed in the sadness of nostalgia and regret, faces his daily loneliness, seeking solace in the solitary ritual of smoking a cigarette. Each puff becomes a journey back in time, an immersion in a parallel dimension that brings to light the moments shared with Alberto. The warmth of those hugs, the echo of shared laughter and the tears that bathed their cheeks become present, as if they had just happened. Every blurry image that surfaces, every fleeting glance that materializes and every whispered word that resonates reveal the fragile nature of human balance and the profound gravity of the choices that shaped their relationship. But in that very smoke lies a strange consolation, a sense of acceptance that begins to germinate in his heart. He accepts the end of the relationship, with all its painful consequences, and launches himself into a new future, leaving behind what has been and opening his arms to the unknown that awaits him.
Núbia finds herself confortable in the systemic conventions of her religion, much to the disappointment of Cecília, who challenges her to rethink her priorities.
A woman learns about the death of her Orthodox Jewish father, a rabbi. She returns home and has romantic feelings rekindled for her best childhood friend, who is now married to her cousin.
Adrian and Duru get lost in the characters they play in an apocalyptic film and embark on a secret mission to end the world for real. Second entry in Adrian Țofei and Duru Yücel’s trilogy which includes Be My Cat: A Film for Anne and Pure.
Two men-a gay, HIV-positive artist and an adopted garbage collector-struggle in the face of stigma and loss to find meaning in work, love, and family.