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Coming out isn’t always an easy process, especially for anyone who has lingering doubts about his or her sexual orientation. However, given the prevailing conditions present in contemporary society, this gay comedy-drama from directors Stephanie Allynne and Tig Nataro stretches credibility where that notion is concerned. Thirty-two-year-old Angelino Lucy (Dakota Johnson) can’t figure herself out sexually speaking. She’s not particularly interested in men, as her sometimes-male companion, Ben (Whitmer Thomas), finds out, but she’s not sure if she’s genuinely attracted to women. She spends considerable time with her bestie, Jane (Sonoya Mizuno), a straight woman whom she’s known for years but who is also about to relocate from Los Angeles to London for work, a development about which Lucy has mixed feelings. So, when Lucy at last opens up to Jane about her possible lesbian leanings, she does all she can to get her friend a date before she leaves for England. But, somewhat perplexingly, Lucy hesitates at every turn, fearful of what might transpire. And therein lies the problem with this film – it’s just not believable. If this picture were made (or set) 40 years ago, when social acceptance of alternative lifestyles was more problematic, then it would probably come across as more plausible. But, given current conditions, it’s simply not convincing. If Lucy were to live in an isolated conservative small town, it might be more conceivable, but she lives in Los Angeles, for goodness sake, where alternative sexuality is virtually a prerequisite for residency. Lucy’s exaggerated whining about her reluctance to move forward grows tiresome, too, and it’s easy to see why Jane loses patience with her. That’s a problem compounded by Johnson’s underwhelming performance, which is annoying and anything but persuasive. The script’s humor is fairly thin, too, save for the laughs generated in cameo appearances by LGBTQ+ icons like Sean Hayes and Nataro, who delivers a positively hilarious performance as a deadpan New Age retreat facilitator. But the film genuinely could use more of these edgy narrative elements (along with greater overall believability) to succeed as a viable release. In fact, given Nataro’s reputation as a source of outrageously sidesplitting comedy, this project is surprisingly tame and inherently more conventional than what one would expect out of someone so innately talented. The picture’s aptly timed streaming release for Pride Month isn’t at all unexpected, but it’s genuinely unfortunate that this just isn’t a very good movie. Gay cinema has come a long way in recent decades, but this offering feels like an anachronistic throwback to the early days of the genre. We’ve seen stories much like this before, but the LGBTQ+ community deserves something more inventive – and better overall – at this point.
Bare, also known as Bare: A Pop Opera, is a coming-of-age rock musical with music by Damon Intrabartolo, lyrics by Jon Hartmere, and a book by Hartmere and Intrabartolo. The story focuses on a group of high school students and their struggles at their private Catholic boarding school.
Five different criminals face imminent death after botching a job quite badly.
Gabriel, Bobby and Costa are old friends from Altona, a multicultural hood in Hamburg. Just out of prison, Gabriel wants to turn his back on crime, but the others continue to operate as petty criminals. Friendships are tested as the trio navigate a dark world of mafia bosses and deals gone wrong.
When you read the title ‘Summer on the Balcony’ you probably think it will be a light Berlin summer comedy but it’s not. This film is an intimate study of two women friends who come to each other because of troubles with everyday life and with men and thus try to enjoy a life based on their ideas.
From the youth directed novel of the same name by Greogor Tressnow comes a film by Detlev Buck that is a realistic portrait of life in the section of Berlin called Neukölln. It’s about power and weakness, delinquents and victims, and the difficulties a 15-year-old faces in a poor and criminal environment.
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.
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.
Lili, a pouty and voluptuous 14-year-old, is caravan camping with her family in Biarritz. She's self-aware and holds her own in a café conversation with a concert pianist she meets, but she has a wild streak and she's testing her powers over men, finding that she doesn't always control her moods or actions, and she's impatient with being a virgin. She sets off with her brother to a disco, latching onto an aging playboy who is himself hot and cold to her. She is ambivalent about losing her virginity that night, willing the next, and determined by the third.
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.
A Hungarian immigrant, his friend, and his cousin go on an unpredictable adventure across America.
As the romantic monsoon rains loom, the extended Verma family reunites from around the globe for a last-minute arranged marriage in New Delhi. This film traces five intersecting stories, each navigating different aspects of love as they cross boundaries of class, continent and morality.