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This has quite an interesting premise to it. It centres on "Andrej" (Matej Zemljic), a young man whose life is pretty adrift. His parents and his school cannot manage him so he is sent to a detention centre where he initially falls foul of, then befriends "Zele" (Timon Sturbej). Now this fella is the local drug dealer, money lender and general hoodlum and "Andrej", though wayward, isn't that type of guy - he loves his pet rat! What seems to cement their bond is that the former becomes infatuated by the latter, and is soon acting as his enforcer. Thing is, is he just being used as a puppet by a "Zele" who is fully aware that his friend is smitten with him - indeed, even indulges it now and again - or might something meaningful come of it? Zemljic is on good form here. He presents his character's confused naivety and his struggle for self-identification and affection well. Sturbej is also effective as his manipulative pal, but the story itself is a bit rudderless. The plot could have been developed more had Darko Sante allowed the two principal characters more screen time on their own. I don't mean in-the-sack screen time, but some more opportunity for us to understand a little more about how "Andrej" became a pawn so easily/readily/willingly. The ending is not unexpected, but I couldn't help but feel rather let down by it's angry simplicity - it really does snuff out any semblance of hope or optimism. The production and direction are fine, though, and overall I think it is well worth a watch.
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.
A transgender woman takes an unexpected journey when she learns that she had a son, now a teenage runaway hustling on the streets of New York.
"The Hours" is the story of three women searching for more potent, meaningful lives. Each is alive at a different time and place, all are linked by their yearnings and their fears. Their stories intertwine, and finally come together in a surprising, transcendent moment of shared recognition.
The drug-induced utopias of four Coney Island residents are shattered when their addictions run deep.
David’s friend from college comes to visit him in LA, but his flight back to China has been canceled due to the pandemic. During the time they live together, David has a secret that he doesn’t know whether or not he should tell.
Quadruplet siblings (two boys and two girls) played by Vice Ganda were separated after birth when their grandmother steals two of the siblings (a boy and a girl) away from their mother. The stolen siblings lived a comfortable life in the US, not knowing that their mother and siblings, a gay and a lesbian, struggled to make ends meet in the Philippines. When the boy develops hepatitis that requires him to have a liver transplant from a compatible donor, their father tells them about their siblings in the Philippines, who may be possible candidates as donors. But once the siblings finally meet, pent up resentment and animosity between the girl and the gay siblings, has threatened the chances of the boy sibling's survival.
Praxis peels away the layers of narrative even as Brian, the film's axis, struggles to create his true self. Brian, a writer on the verge of a breakdown, is aided by Joe and an Elusive Woman as he sifts through the fragments of his persona to discover his true core. Fighting against fear and the indifference of society - aptly symbolized by the medical establishment - his quest reflects the classical mythos of Proteus and the human search for meaning in the universe.
Cris discovers that his five years relationships is about to end when his live-in boyfriend Michael leaves him supposedly for an out of the country business trip. He then embarks on a long journey to catch his lover and the third party, passing by his boyfriend's maternal home, his boyfriend's best friend, his own best friend and a mysterious acquaintance. Will Cris catch his boyfriend and will he be able to prevent their relationship from its inevitable ending? Not until someone dies so another can move on. Hinala is not only about fidelity but more about that long journey we take when a relationship bitterly ends and we are broken. How many times must we die so we can be free from the baggage?
A young man of Chinese-Cambodian descent dies, leaving behind his isolated mother and his lover of four years. Though the two don't share a language, they grow close through their grief.
The amazing wartime saga of a young American GI who travels to Budapest to find his former companion, a French soldier who told him of the spectacular bathhouses he visited there. The GI explores the fraternal joy of these Turkish baths and loses himself in passion - only to discover his real sexual self!
An ex-seminarian slash communist runs a hotel in Baguio. He then meets a handsome upcoming lawyer. A once-a-year trip to Baguio by the lawyer and conversations with the hotel owner develop into an affair which encompasses decades of socio-political changes in the country.
