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A poignant romantic drama examines the life of gay 26 year-old ex-monk school teacher living in Manhattan. When he meets a man at a gay bar, they connect and are soon living together. Unfortunately their views on monogamy don't match.
Master Sergeant Albert Callan (Rod Steiger) is one tough G.I. During World War II, he killed an enemy soldier with his bare hands. Now in postwar France, he wrests control of his army post away from an ineffective superior. But another Sergeant Callan lives behind the snarl and the stare: a man overwhelmed by his repressed attraction to a handsome young private (John Phillip Law). In this insightful exploration of homosexuality made in an era of widespread intolerance, Steiger (The Pawnbroker, In the Heat of the Night) gives a stunning performance -- one both volcanic and nuanced -- that illuminates Callan's tragic, tormenting battle with his true nature.
Starring Robin Williams in his remarkable final on-screen performance, BOULEVARD follows married but closeted 60 year-old bank employee Nolan (Williams) whose spontaneous turn down an unknown street upends his monotonous life and crumbling marriage. After forming an uncommon friendship with a young, charismatic hustler, Nolan finds himself on a journey of self-discovery and must confront the secrets he has kept hidden from his wife (Kathy Baker of SAVING MR. BANKS) and himself. Nolan’s dramatic decision to rethink his own identity holds with it the promise of happiness and salvation for both he and his wife in this touching and inspiring film. From acclaimed director Dito Montiel (A GUIDE TO RECOGNIZING YOUR SAINTS, THE SON OF NO ONE), and written by Douglas Soesbe, BOULEVARD shines with an ensemble cast that includes Bob Odenkirk (TV's BETTER CALL SAUL) and Roberto Aguire (STRUCK BY LIGHTNING) in a breakout performance.
Oliver (Ewan McGregor) is an illustrator with a history of failed relationships. Growing up, he spent much of his time with his eccentric mother, Georgia (Mary Page Keller), while his father, Hal (Christopher Plummer), supported the arts as the curator of a local museum. Though Oliver's parents never divorced, as a young boy he always sensed a distance between them -- a distance, Oliver discovers following his mother's death years later, that resulted from the fact that his father had lived most of his life as a closeted homosexual. With his wife gone and his son grown up, 75-year-old Hal decides to finally embrace his sexuality and takes a young boyfriend (Goran Visnjic). When Hal's health takes a turn for the worse, Oliver steps up to care for him while recalling quiet conversations and eventful trips to the museum with his unpredictable mother -- a dyed-in-the-wool eccentric. Gradually, Oliver begins to see his father in a whole new light. Later, Oliver falls for pretty French actress Anna (M̩lanie Laurent) after a chance meeting at a costume party. The more intimate Oliver and Anna become, the more they both realize they share one defining character flaw -- the moment any relationship turns serious, they run away. For Oliver it means shutting himself in and obsessing over his work; for Anna it's as easy as checking into another empty hotel room in yet another strange city -- one of the perks, as it were, of having an itinerant job. After moving in together, the dysfunctional couple realizes that overcoming their hard-wired relationship issues is more difficult than either of them expected.
A lottery win leads not to financial and emotional freedom but to social captivity, in this wildly cynical classic about love and exploitation by Rainer Werner Fassbinder. Casting himself against type, the director plays a suggestible working-class innocent who lets himself be taken advantage of by his bourgeois new boyfriend and his circle of materialistic friends, leading to the kind of resonant misery that only Fassbinder could create. Fox and His Friends is unsparing social commentary, an amusingly pitiless and groundbreaking if controversial depiction of a gay community in 1970s West Germany.
A romantic drama directed by Rodney Evans (Brother to Brother) that focuses on two young NYC couples - one black and gay, one white and straight-whose lives become intertwined. Tired of dating Stan, Annie pretends to be seeing a female coworker. Heartbroken, Stan finds himself hooking up with Marcus, who just started having an open relationship with his long-term boyfriend, Aaron. As they explore new relationship norms, a chance encounter on a subway platform makes each of them reevaluate their sense of who they are and what they want. The film uses the multi-cultural ensemble to explore the questions that alternative twenty- and thirty-year olds face in a culture where there appears to be endless possibilities for sex but also a resistance to any definitive model for a 'proper' relationship.
Based on a 1967 hit song. A seventeen-year-old boy is seduced into a homosexual act. His guilt over the incident drives him to commit suicide by jumping off the Tallahatchie Bridge, leaving his girlfriend behind.
Tiger Orange follows Chet (Mark Strano, Out To Kill) and Todd (Frankie Valenti a.k.a. former adult star Johnny Hazzard), estranged gay brothers, who grew up in a small town in Central California with a homophobic, working class, single father. While bad boy Todd ran off to Los Angeles and is now out and proud, Chet stayed at home, mostly closeted, to run the family hardware store and care for their ailing father until the father’s recent death. Broke and homeless, Todd returns to the brother he left behind. As long-simmering resentments boil to the surface and the pair confront their differences and similarities, Tiger Orange serves up a poignant depiction of family dynamics and small town life — and the journeys we each must take.
A vivid, dynamic Southern coming-of-age drama, takes place in the transitional space between high school and college, when life seems to be all questions and no answers, and the future is scarily wide open. Set in and around a Charleston, SC Baptist church, weaving through this ensemble piece are three main characters - Brea, an introspective pastor's daughter experiencing debilitating doubt, the hyperactive Laura, Brea's best friend and a devout believer, and Tim, the open-hearted son of a single father, confronting his homosexuality for the first time. Tensions and buried feelings abound, as colleges are chosen and adults behave badly, as Brea, Laura and Tim attempt to hang onto what they have, all the while yearning to break free.
Kim Wayans, Adepero Oduye, Aasha Davis and Charles Parnell star in Dee Rees's inspiring film that critics hail is "Vibrantly alive! Potently moving and heartfelt!" (Peter Travers, Rolling Stone). Seventeen-year-old Alike (pronounced ah-lee-kay) lives with her parents and younger sister in Brooklyn's Fort Greene neighborhood. She has a flair for poetry, and is quietly embracing her identity as a lesbian. But whenever Alike's development becomes a topic of discussion at home, her parents' already strained marriage is pushed to the breaking point. Wondering how much she can confide in her family, Alike strives to get through adolescence with grace, humor, and tenacity -- sometimes succeeding, sometimes not, but always moving forward.
Movement can give the illusion of progress. And they say that all the world is illusion. So what is the difference between exploring and being lost? In a winter that brought an exceptional amount of challenges to riders all over the world, Absinthe's newest snowboard film reminds us how much our reality is affected by what we make of it. Whether you are lost ... or exactly where you want to be ... all depends on how you look at it. NowHere.
After nearly four decades together, Ben (John Lithgow) and George (Alfred Molina) finally tie the knot. But when George loses his job, the couple must sell their apartment and temporarily live apart until they can find an affordable new home. George moves in with two friends (Cheyenne Jackson and Manny Perez) while Ben ends up across town with his nephew (Darren Burrows), his wife (Marisa Tomei) and their teenage son with whom Ben shares a bunk bed. While struggling with the pain of separation, Ben and George are further challenged by the intergenerational tensions and capricious family dynamics of their new living arrangements. Love Is Strange depicts the delicate nature of two people building a long life together and their love growing deeper and richer with time.
Italian cinema dream team Sophia Loren and Marcello Mastroianni are cast against glamorous type and deliver two of the finest performances of their careers in this moving, quietly subversive drama from Ettore Scola. Though it’s set in Rome on the historic day in 1938 when Benito Mussolini and the city first rolled out the red carpet for Adolf Hitler, the film takes place entirely in a working-class apartment building, where an unexpected friendship blossoms between a pair of people who haven’t joined the festivities: a conservative housewife and mother tending to her domestic duties and a liberal radio broadcaster awaiting deportation. Scola paints an exquisite portrait in sepia tones, a story of two individuals helpless in the face of fascism’s rise.
Seventeen-year-old Randy is hiding a secret inner struggle and denial of his true self. It’s not until he opens himself up to love that he discovers that becoming a man means accepting who you really are.
In Mussolini’s Italy, repressed Jean-Louis Trintignant, trying to purge memories of a youthful, homosexual episode – and murder – joins the Fascists in a desperate attempt to fit in. As the reluctant Judas motors to his personal Gethsemane (the assassination of his leftist mentor), he flashes back to a dance party for the blind; an insane asylum in a stadium’ and wife Stefania Sandrelli and lover Dominique Sanda dancing the tango in a working class hall. But those are only a few of this political thriller’s anthology pieces, others including Trintignant’s honeymoon coupling with Sandrelli in a train compartment as the sun sets outside their window; a bimbo lolling on the desk of a fascist functionary, glimpsed in the recesses of his cavernous office; a murder victim’s hands leaving bloody streaks on a limousine parked in a wintry forest. Bernardo Bertolucci’s masterpiece, adapted from the Alberto Moravia novel, boasts an authentic Art Deco look created by production designer Ferdinando Scarfiotti, a score by the great Georges Delerue (Contempt, Jules and Jim, and That Man From Rio) and breathtaking color cinematography by Vittoria Storaro, who supervised this director approved restoration.