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Much has been said/written/vented about the banning of Travis Matthews' I Want Your Love at this year's Melbourne Queer Film Festival. Many have stressed their disagreement with the Classification Board's claim that the six minutes of sex in Matthews' film did not advance the plot and I'd agree - the sex was nothing if not character driven. What is interesting is just how unerotic realistically depicted sex actually is. Not that it is unattractive; Matthews' film is actually incredibly beautiful in the way that it films the guys getting down and dirty, but it so tied up in the participants, in the case of I Want Your Love two (or three) guys, that it is the facial expressions, the laughs and the unsure expressions that become far more interesting than the mechanics of the bits going up and down, or in and out, or gushing forth. And it is the lead up to the actual act, the will-he-won't-he moments that really provide the tension in these scenes. All it takes is one section of Marco Berger and Marcelo Mónaco's Sexual Tension: Volatile to prove that. The anthology film, with six sections alternately directed by Berger and Mónaco, traces the outline of sex but never actually breaks through. It is a very cheeky 85 minutes of cock teasing but it is also a lot of fun. Each segment takes a potential man on man liaison as a starting point and works it up to the point that it is just about to blow, then moves on. Berger, who's previous films Plan B and Ausente have both traded heavily on sexual tension, gets the pick of the bunch, titled "El Primo". Ausente's predatory star, Javier De Pietro, appears as a young house guest who is taken with his mate's gawky cousin, who tends to lay around the house in his undergarments, which unsurprisingly gets our young hero into a lather. Berger uses his camera and his actors perfectly to capture a familiar scenario: the slippery slope from "how can I sneak a perve" via "how can I sneak more than a perve" to "damn, I missed my only opportunity". It works so well because it taps into countless times when you've been in the self same situation. The same goes for most of the remaining segments. There is always that hint of familiarity tied in that heightens the experience. The best of the rest follows a young guy at a tattoo parlour who gets wrapped up in the tattooist, who doesn't know he exists; from there it is straight guys teaching each other how to better serve their girlfriends, sponge baths, hotel staff with no sense of personal space and personal trainers. Sexual Tension: Volatile is a lot of fun. There is never a dull moment (thanks to the titular sexual tension) but after the first two segments the quality does drop off considerably. Going by the film's Spanish title, Tensión sexual, Volumen 1: Volátil, there is more to come. I'm not going to complain, I'm well up for it. ★★★ Sexual Tension: Volatile screened as part of the Melbourne Queer Film Festival 2013.
Much has been said/written/vented about the banning of Travis Matthews' I Want Your Love at this year's Melbourne Queer Film Festival. Many have stressed their disagreement with the Classification Board's claim that the six minutes of sex in Matthews' film did not advance the plot and I'd agree - the sex was nothing if not character driven. What is interesting is just how unerotic realistically depicted sex actually is. Not that it is unattractive; Matthews' film is actually incredibly beautiful in the way that it films the guys getting down and dirty, but it so tied up in the participants, in the case of I Want Your Love two (or three) guys, that it is the facial expressions, the laughs and the unsure expressions that become far more interesting than the mechanics of the bits going up and down, or in and out, or gushing forth. And it is the lead up to the actual act, the will-he-won't-he moments that really provide the tension in these scenes. All it takes is one section of Marco Berger and Marcelo Mónaco's Sexual Tension: Volatile to prove that. The anthology film, with six sections alternately directed by Berger and Mónaco, traces the outline of sex but never actually breaks through. It is a very cheeky 85 minutes of teasing but it is also a lot of fun. Each segment takes a potential man on man liaison as a starting point and works it up to the point that it is just about to follow through, then moves on. Berger, who's previous films Plan B and Ausente have both traded heavily on sexual tension, gets the pick of the bunch, titled "El Primo". Ausente's predatory star, Javier De Pietro, appears as a young house guest who is taken with his mate's gawky cousin, who tends to lay around the house in his undergarments, which unsurprisingly gets our young hero into a lather. Berger uses his camera and his actors perfectly to capture a familiar scenario: the slippery slope from "how can I sneak a perve" via "how can I sneak more than a perve" to "damn, I missed my only opportunity". It works so well because it taps into countless times when you've been in the self same situation. The same goes for most of the remaining segments. There is always that hint of familiarity tied in that heightens the experience. The best of the rest follows a young guy at a tattoo parlour who gets wrapped up in the tattooist, who doesn't know he exists; from there it is straight guys teaching each other how to better serve their girlfriends, sponge baths, hotel staff with no sense of personal space and personal trainers. Sexual Tension: Volatile is a lot of fun. There is never a dull moment (thanks to the titular sexual tension) but after the first two segments the quality does drop off considerably. Going by the film's Spanish title, Tensión sexual, Volumen 1: Volátil, there is more to come. I'm not going to complain, I'm well up for it.
Halim has been married to Mina for a long time, with whom he runs a traditional caftan store in the medina (old town) of Salé, Morocco. The couple has always lived with Halim's secret – his homosexuality – about which he has learned to keep quiet. However, Mina's illness and the arrival of a young apprentice upsets this balance. United in their love, each will help the other face his fears.
The mood is heated. Demonstrations are taking place across France, also in front of the Paris hotel where an Italian named Giorgio is booking the bridal suite for him and his boyfriend Antonio. Hotel manager Diana doesn’t trust them and calls the police to get rid of the odd couple. Italians? Homosexuals? Criminals? In the charged atmosphere of the Hotel Occidental, little is needed for initial suspicions to be aroused.
Kay Dillon, a successful modeling agent, meets the young and handsome ranch hand Tyler Burnett in Nevada. She can't help but notice his incredible good looks and invites him to move to New York and start working for her as a male model. Burnett accepts the invitation and goes to New York to start his modeling career. But Tyler longs for more in life: a woman to love and his own ranch. Can he remain the biggest male model in the industry, and still get his heart's desires? Is Kay the woman to give all that to him?
A young man tired of writing and rewriting a screenplay decides to begin a Super 8mm film diary. He films his parents and those close to him and determines to tell the about his homosexuality.
A teenager tries to track down a man he met at an anonymous sex party, trawling through hook-up apps to find him.
Every few hundred years, the most powerful demon on earth—a snake demon—awakens, and the Yin-Yang Masters are summoned to the capital. Meanwhile, the Princess of the realm has her own plans, as she conspires to claim the demon’s power.
One night in Belgrade, a young guy meets a man for casual sex. By morning, different expectations can bring a new light on this chance meeting.
A pregnancy test leads Eloïse to question the future of her open relationship with Florence, hoping there could be more between them.
A queer Arab boy, Nazeem, looks up to his Muslim mother with awe. Later in life, it is only through being a drag queen that he holds on to their lost and fraught connection.
Uri, a 50 year old family man, has a romantic secret relationship with Oded, a young man from their small town in the south of Israel. During a trip in the desert, the two are forced to deal with the tragic consequences of their type of relationship.
Anna and Edith are colleagues at an insurance company. Their male chef uses the women's business success to his own advances. Anna's husband would prefer her to be at home. Anna and Edith become a couple, but it doesn't end with a romantic rendez-vous. Together, and with the help of their female colleagues, they want to improve their work conditions.
