Boy Erased (2018)

I was very looking forward to seeing Boy Erased as it deals with a very difficult and important subject and has many good actors —Nicole Kidman, Lucas Hedges, Joel Edgerton, who is also directing, and Russell Crowe. Unfortunately, it turned out to be a disappointment.

Based on Garrard Conley's memoir of the same name, the story follows Jared Eamons (Lucas Hedges), the son of a Baptist preacher (Russell Crowe) and a religious woman (Nicole Kidman) in Arkansas. When he comes out as gay, his parents send him to a church-supported gay conversion camp to cure him of his homosexuality.

This is arguably an important story that needed to be told as people need to be aware of the existence of these camps and what people had to go through because of them —sadly, some people still firmly believe you can cure homosexuality with therapy. The problem with Boy Erased is that the storytelling, although non-linear which should make things more interesting, is dull and not so compelling. In addition, Edgerton doesn't do an excellent job at capturing the horrors of those places —they don't look that bad at times— and the over-dramatization gives you the impression of an Oscar-bait movie.

The characters are a hit and miss too. While Lucas Hedges gives a nice performance as Jared, capturing to perfection the young man's bewilderment but struggling a lot when it comes to delivering the sexual conflict within him —the performance falls a bit flat because of this—, the character of Jared isn't particularly interesting. Actually, he couldn't be any more uninteresting. The father, although he doesn't have a lot of depth nor development and Crowe's performance is forgettable to say the least, is by far a more interesting character. The mother, on the other hand, is compelling as she is the only character that shows some growth —while at the beginning, she hardly does anything to protect her son from her husband, at the end she finally fights for her son and shows how much she loves him, no matter what— and Nicole Kidman's performance is quite extraordinary, especially when it comes to delivering the inner struggle of a woman torn between her husband and her son.

Focus Features

As I mentioned above, Joel Edgerton's direction fails to deliver the horrors of conversion camps, but at least he handles the heavy topic with sensitivity, in a respectful manner. And yet, he failed at making me feel anything, which left me speechless considering the subject. The cinematography is also quite dull and mute, and the score often feels inappropriate and manipulative.

How to Survive a Plague (2012)

I don't know much about AIDS but I've always been interested in the subject matter as I care about LBGT causes so I finally decided to check out How to Survive a Plague, another documentary suggested by Dell over Dell on Movies as it topped his greatest LGBT movies list.

As I was mentioning, How to Survive a Plague is a documentary about AIDS and it follows two small groups of gay activists, ACT UP and TAG, as they fight the government, specifically the FDA, to get a treatment to turn a death sentence such as AIDS into a manageable disease.

The documentary starts in 1986 in New York where men and women not only are dying of AIDS but are even refused in hospitals and ambulances would refuse to carry them. There's nothing each of them could do on their own so they activists groups with the purpose to bring attention, awareness, and most importantly a cure to AIDS.

It follows these groups as they courageously battle the FDA as they introduced a toxic drug, the AZT, to cure the disease, politicians as they refused to step in for several reasons, and even the Catholic Church as they condemned the use of condoms, which were and still are effective in preventing HIV and other sexually transmitted infections.

With a mixture of archive footage --from protests, home movies, and more sources-- and more recent interviews, director David France does a good job in capturing the struggling AIDS victims and activists as they witnessed their friends and family members go blind and die while the US government did absolutely nothing to stop it.

Mongrel Media, Sundance Selects, IFC

With How to Survive a Plague, France also manages to show the amount of discrimination towards anybody with AIDS or people linked to gay communities, he does a pretty good job at teaching future generations about the struggles of these people and all they had to put up with, but most importantly, he showcases how far people are willing to go for a change, literally to make the world a better and friendly place for everyone, no matter the sexual orientation or skin colour.

Love, Simon (2018)

Though I haven't read Becky Albertalli's Simon vs. the Homo Sapiens Agenda, I was very excited about Love, Simon. Maybe it's because I'm a sucker for LGBT movies or because I've heard so many good things about this film, but I just couldn't wait to see it.

The film is about Simon Spier (Nick Robinson), a teenage boy who leads a pretty normal life, apart from the fact that he is secretly gay. When an anonymous boy who goes by Blue writes on the high school Tumblr-like page that he is gay, Simon decides to email him under the name of Jacques and they eventually bond. Unfortunately, Martin (Logan Miller), a quite unpopular kid, accidentally stumbles across Simon's emails, screenshots them and uses them to blackmail Simon into helping him get Abby (Alexandra Shipp), one of Simon's friends. While trying to handle his blackmailer, Simon also attempts to discover the true identity of Blue and come to terms with his identity.

The plot itself is rather predictable and clichéd, not to mention how dumb it is --the whole "mess" happens because Simon does a, not know how to log off of a computer and b, not know better than using a school computer to write those secret emails-- and the ending is far from being realistic and way too cheesy for me and yet the story works. It is touching, moving and heartwarming, and it is relatable whether you're straight or gay.

The characters aren't that deep either. While Simon is a better-rounded character with some depth and development --the inner struggle could have and should have been explored better though--, the supporting characters are nothing but one-dimensional stereotypes, not to mention that the relationship between them isn't that deep either --the only reason Simon, Leah, Nick and Abby seem to be friends is because they like iced coffee or whatever they are drinking. And yet they serve their purpose in the story, and they are all quite likeable. Even Martin who is just an outcast who wants to fit in. Sure, he tries in the wrong way but he isn't a cruel person.

20th Century Fox

The main reason the characters still manage to be likeable is probably the cast as most of the actors do a pretty good job. Nick Robinson (Jurassic World) gives a vulnerable and touching performance as Simon, and he really allows you to understand the character better. Also worthy of a mention is Katherine Langford, (Hanna from 13 Reasons Why). She plays Simon's friend Leah, and though the character is very thin and she doesn't have a lot of screen time to shine, she steals the show as she delivers one of the most powerful lines in the film.

Speaking of which, Love, Simon has pretty awesome dialogue too. I think this is the first time I see a teen movie where the characters/actors aren't forced to say dumb things. Most of the dialogue in here is clever and so well written that not even Jennifer Garner, who plays Simon's mother, manages to ruin the speech toward the end.

Sure, the film has its problems but it's the kind of film that makes you feel good while delivering a powerful message of love and acceptance. It is pretty much the clichéd be-who-you-are message but it's delivered in such a way that it feels refreshing.

Paris Is Burning (1990)

When I added Paris Is Burning to my watchlist I didn't even know it was a documentary. When I found out, I thought I'd never watch it because I didn't like documentaries. Actually, I'd barely watched one before. Then last year I went through a documentary phase and decided to watch it. And it blew my mind.

Just in case you are not into documentaries or you don't know this one, Paris Is Burning is about the gay New York of the 1980s and the ball culture which consisted of balls where contestants walk or perform in different ways. It's a story about people being marginalized for being black or Latino, male and gay. 

I didn't know absolutely anything about this culture --I didn't even know a thing about voguing which apparently people think is a Madonna thing but it's not--

and I found it very interesting and fascinating. I loved learning more about these people, their lives, their world. I loved seeing the tremendous dedication these people put into performing, how hard they worked.

The reason why Paris Is Burning worked so well for me is that director Jennie Livingston allowed the performers bring their humanity, their heart into this. We truly learn about the people in this, about their dreams, their hopes, what they think of homosexuality, of men and women. We see their disappointments as well, which kind of made me feel heartbroken, and all I wanted was to see these people make their dreams come true. And often that meant just being about to perform at the ball. 

Miramax Films

It's not always easy to watch. Reality never is. Especially when these people are still dealing with the same problems nowadays, but Paris Is Burning is a very beautiful, powerful, moving even documentary, and everyone should watch it, no matter if you are for or against gay rights. This documentary is about gay people, but not only gay as in homosexual but gay as in happy, and, I don't know, it filled my heart with love and joy and sadness too. Just watch it if you get the chance.

A Fantastic Woman (2017)

A Fantastic Woman (Spanish: Una mujer fantástica) is the foreign language nominee I was interested in seeing the most, mainly because it was the only one I knew something about, and, even though I haven't seen Sebastián Lelio's Gloria, I had pretty high expectations for this. 

The film is set in Santiago, Chile, and follows Marina (Daniela Vega), a transgender waitress who is in a relationship with an older man, Orlando (Francisco Reyes). When Orlando suddenly dies, her life becomes a nightmare. While Orlando's family attacks her, both verbally and physically, all the time and even ban her from attending the funeral. As if being harassed by Orlando's family wasn't enough, she also becomes the subject of the investigation of Orlando's death.

It's a very interesting story and definitely has a lot of potential but, in my opinion, Lelio approached it in the wrong way. The story just didn't engage nor interest me that much. It was quite boring, to be honest, and I couldn't wait for it to be over. 

In spite of that, A Fantastic Woman still manages to be a good portrait of a transgender woman who must deal with all the hate and intolerance from society while already suffering for the lost of the man she loved. Marina is a woman who is fighting to be accepted for the choices she made but who, at the same time, has doubts about herself, a woman who just wants to honour the loss of the man she loved. A woman who wants others to understand that she doesn't want special rights, she wants equal rights. She just wants to be treated like a human being, with decency and respect. 

Sony Pictures Classics

The performance of Daniela Vega is pretty good as well. She has a quite complex character to deliver and she does fantastic. She delivers Marina's pain and struggles so well, even though she has the same facial expression most of the running time.

The thing with A Fantastic Woman though is that it doesn't break any new ground. I'm sure the LGBT themes in this film are new to Chilean cinema but they have been treated and explored many and many ways before by other (North) American movies. Also, I would have liked the relationship between Marina and Orlando explored a little more. 

I have to give the film credits for having a beautiful cinematography and for the camera that couldn't have captured Vega's face better. 

Call Me by Your Name (2017)

I haven't read André Aciman's novel of the same name, and still I was excited to see Call Me by Your Name because it's directed by an Italian filmmaker, Luca Guadagnino, and basically everyone praised it, but it was a little disappointing. 

Northen Italy, Summer 1983. Seventeen-year-old Elio Perlman (Timothée Chalamet) is spending his days in his family's villa transcribing and playing classical music and reading. Then Oliver (Armie Hammer) arrives, an American graduate who has come to help Elio's father (Michael Stuhlbarg) with archaeological research and Elio soon develops a crush on him.

It's kind of a basic plot. Actually, there's barely one as nothing really happens in the film, but I didn't care much for that since the important thing here isn't the plot. This, after all, it's a coming-of-age and a love story. The incredibly slow pace didn't bother me either. If anything, it made the romance between Elio and Oliver more realistic since this kind of things don't happen overnight.

My problem was another one. While I was very interested in seeing how the romance would evolve, I found it rather charming and sweet, and I didn't want it to end, I didn't feel any emotional connection to it. It just felt cold to me and didn't move me at all. The film was over and I was like, yeah, it was a good romance, I was kinda invested in it, but I felt nothing. Why is that? Frankly, I'm still trying to figure it out. If there's something to be admired here though it is the fact that the romance between Elio and Oliver is never treated as a gay romance, but just as a love story between two people.

Sony Pictures Classics

However, Call Me by Your Name does work as a coming-of-age. Not your typical coming-of-age, but one exploring sexuality. The emotional conflict of Elio when he recognises his feelings for Oliver is analysed quite well, and Timothée Chalamet does a good job delivering the struggle of Elio and he kind of reminded me of Rooney Mara in Carol (only he did not make me cry).

Another positive note is the cast. Armie Hammer finally has something good to work with and finally gets to shine, but I wouldn't go as far as saying he deserves an Oscar for it. Anyway, the chemistry he has with Chalamet is beautiful. Michael Stuhlbarg also does a good job as Elio's father. Actually, his monologue towards the end is the highlight of the film and for that, it's his performance that stands out.

Then there's the beauty of Italian landscape that is captured wonderfully and the impeccable music that accompanies the story. And the disgusting peach scene.

Dog Day Afternoon (1975)

Genres

Crime, Drama

Director

Sidney Lumet

Country

USA

Cast

Al Pacino, John Cazale, Charles Durning, James Broderick, Lance Henriksen, Chris Sarandon, Penelope Allen, Sully Boyar, Susan Peretz, Carol Kane, Beulah Garrick, Sandra Kazan, Estelle Omens, Marcia Jean Kurtz, Amy Levitt, Gary Springer, John Marriott, Philip Charles MacKenzie

Storyline

A ten-minute bank robbery turns into a hostage situation and a media circus when Sonny (Al Pacino), one of the robbers, finds that there's nothing much to steal.

Opinion

I've been putting off Dog Day Afternoon for a very long time. It's just that the whole bank robbery storyline didn't appeal me much. Then Dell mentioned this film on his Top 20 LGBT Movies list and, curious to see how it would fit, I finally checked it out. I'm not going to tell you that because I don't want to spoil the film for you if you still haven't seen it, but it sure fits. And it's such a great film I'd put it on my Top 20 LGBT Movies list too.

Anyway, the film tells a compelling and tragic true story about a bank robbery. It does have some of the typical moments of films of this genre – the robbers getting a massive attention from the media, for example – and if you think about it, the plot is rather thing, but to benefit from that almost non-existent plot are the characters.

This film has indeed a fantastic, detailed, believable characterization, and very interesting characters, especially John Cazale’s Sal. While Al Pacino’s Sonny is the incarnation of a man who tries to keep everything under control, a man who acts tough but who’s got heart and doesn’t want anybody to get hurt – which is probably the reason why you can’t help but sympathize with him -, John Cazale’s Sal is a completely different man. Sal is the kind of man who does not need to talk to speak. His face does all the job. He is aggressive and the more dangerous of the two, but he is also kind of naïve. Unlike Sonny, he is worried about what people think about him which is crazy since he’s robbing a bank and he’s the wandering mine. I think that’s what makes the character so interesting.

These two different but equally fascinating characters are brought to life by two fantastic actors. In my opinion, Al Pacino gives his best performance ever. He doesn’t play Sonny, he is Sonny, and the best thing about it is that Sonny is different from the usual character he plays. Sure, he’s still a criminal, but he’s far away from the cold-blooded Michael Corleone or the ruthless Tony Montana.  John Cazale also gives a great performance and he embodies Sal to perfection.

Then, of course, there’s the direction. Not only Lumet builds some great tension and suspense but he also gives the inside and the outside of the bank two completely different tones. It’s all calm inside and all frenetic outside. It should be the opposite given the situation, but I think that’s why it works so well.

However, Dog Day Afternoon does have a flaw. It touches many important themes such as the trauma of Vietnam War veterans, media doing everything to get a story and homosexuality, but it doesn’t explore them at most. 

Brokeback Mountain (2005)

Genre

Drama | Romance

Director

Ang Lee

Country

USA | Canada

Cast

Heath Ledger, Jake Gyllenhaal, Randy Quaid, Michelle Williams, Anne Hathaway, Linda Cardellini, Anna Faris, David Harbour, Roberta Maxwell, Peter McRobbie, Kate Mara, Scott Michael Campbell, Graham Beckel

Storyline

The story of two young men - a ranch-hand (Heath Ledger) and a rodeo cowboy (Jake Gyllenhaal) - who meet in the summer of 1963 and unexpectedly forge a lifelong connection, one whose complications, joys and tragedies provide a testament to the endurance and power of love.

Opinion

Eleven years later its release I finally watched the film that is supposed to portray one of the best romances ever, and finally it was a film that is really as good as people say.

"Brokeback Mountain" is a powerful, unforgettable, stunning, beautiful yet sad and heartbreaking piece of art.

The simple yet profound story of two people who meet, fall in love, but are unable to fulfill their love is utterly absorbing, and doesn't quite leave with when the film is over. It is the love story between two men that goes on for 30 years and does have a fair share of hitches, from suffering to helplessness, but the story goes beyond genres. Straight or gay doesn't really matter: it all is about simple and pure love.

I did like a lot the meaning of Brokeback Mountain. It is not just the movie title or the place where the two lovers meet, it is more of a state of mind, a place we all are looking for, where one can break free from inhibitions and truly be oneself. 

Kudos to director Ang Lee for the way he has dealt with such a delicate subject, and for showing how hard it was to be yourself in a place like that in times like those with such a tenderness and rawness, and unfortunately in such a realistic way.

Then there is the unforgettable score that suits the film perfectly and that, along with the imagery of the Wyoming landscape, conveys the loneliness of these two men.

And finally there's the cast, an extremely talented cast. Heath Ledger arguably gives his best performance as the leading character Ennis Del Mar, he inhabits the role with such a depth and manages to bring an amazing emotional charge to it without saying or doing much. Jake Gyllenhaal does a good job as well, but it's nothing compared to Ledger. Then there is the spectacular female supporting cast, Michelle Williams, Anne Hathaway and Linda Cardellini. Especially Williams, whose performance as Ennis's wife is truly heartbreaking.

Carol (2015)

Genre

Drama | Romance

Director

Todd Haynes

Country

UK | USA

Cast

Cate Blanchett, Rooney Mara, Sarah Paulson, Kyle Chandler, Jake Lacy, Cory Michael Smith, John Magaro, Carrie Brownstein, Kevin Crowley

Storyline

An immediate connection sparks between Therese Belivet (Rooney Mara), a young woman working in a Manhattan department store and dreaming of a more fulfilling life, and Carol (Cate Blanchett), an alluring woman trapped in a loveless, convenient marriage. Their connection eventually deepens, and while Carol breaks free from the confines of marriage, her husband (Kyle Chandler) begins to question her competence as a mother.

Opinion

I had been looking forward to this film for months, and despite my high expectation, I was sure it would have let me down, like Todd Haynes's "Far From Heaven" did. To my surprise, the film lived up to my great expectations. 

Masterfully directed, beautifully shot and led by a powerful Cate Blanchett and Rooney Mara, Carol is a tender, tough and thoughtful film made of glances, feelings and atmospheres, that seduces the viewer.

One of the biggest challenges of filmmaking is to find new stories to tell. The ultimate challenge is being able to tell an already-seen story in an original and interesting way. This is certainly the first hurdle Todd Haynes faced with this film that brings back to the memory his "Far From Heaven". Needless to say, he overcame it beautifully.

The story's extremely slow pace is the main reason many did not like the film. At the same time the pace is the main reason the film works. In this manner, Haynes has all the time to focus on every single shade because the storytelling follows an evolution of feelings never expressed in words and kept hidden even in the private.

The script, written by Phyllis Nagy and adapted from Patricia Highsmith's novel "The Price of Salt", is tight, has strong development, and does not waste time. Same goes with dialogue. Each line conveys so much about the story and none of them is wasted. 

Then there is a sex scene, which is very common in films. Sometime their only purpose is to have a beautiful woman naked. Some other times they are over extended for no reason probably just to make people talk about the film ("Blue Is the Warmest Colour"). Then there's some other times where the tension between the couple starts building from the beginning, and when they become intimate, the scene is more powerful than any other in the film. Carol's is one of the latter, and as if that wasn't enough, the scene is masterfully done, beautifully shot and so well acted that it conveys all the passion. Carol and Therese will make love again, but there is no other sex scene as those involved - probably both director and writer(s) - knew it wouldn't add anything to the film.

To add another layer of greatness to this film there's Carter Burwell's score. Although repetitive at times, it was divinely blended with the era of the film. It starts with a simple piano, followed by violin, and then suddenly the sound of an angelic harp. Simply the best score of the year.

And lastly the strong and powerful leading duo, Cate Blanchett and Rooney Mara. Cate Blanchett is - as always - brilliant as Carol, and so consistently magnetic she could make you fall in love with a stare. Rooney Mara is outstanding and her portrayal of Therese showed the character's innocence and her journey towards self-discovery. The chemistry between the two of them is simply remarkable. Sarah Paulson is also unforgettable as Abby, Carol's childhood friend and ex. The chemistry between her and Blanchett is also wonderful.

Go see it before it's too late.

My angel, flung out of space... - Carol

Blue Is the Warmest Colour (2013)

Original Title

La Vie d'Adèle - Chapitres 1 & 2

Genre

Drama | Romance

Director

Abdellatif Kechiche

Country

Belgium | France | Spain

Cast

Léa Seydoux, Adèle Exarchopoulos, Salim Kechiouche, Aurélien Recoing, Catherine Salée, Benjamin Siksou, Mona Walravens, Alma Jodorowsky, Jérémie Laheurte, Anne Loiret, Benoît Pilot, Sandor Funtek, Fanny Maurin, Maelys Cabezon, Stéphane Mercoyrol, Aurelie Lemanceau

Plot

Adèle (Adèle Exarchopoulos) is an introverted high-school student whose classmates gossip constantly about boys. While crossing the street one day, she passes by a woman with short blue hair (Léa Seydoux) and is instantly attracted. She dates a boy (Jérémie Laheurte)at her school for a short while and they have sex, but she is ultimately dissatisfied and breaks off their relationship. After having vivid fantasies about the woman she saw on the street and having one of her female friends behave flirtatiously towards her, she becomes troubled about her sexual identity.

Opinion

Blue Is the Warmest Colour is a wonderful and emotional film about life, love and sexuality. This film has made quite a stir for the lesbian sex scene lasted 10 minutes, on the edge of eroticism, but also the most powerful and sweet in the entire history of cinema.
Both Adèle Exarchopoulos and Léa Seydoux were sensational, and the film deserves to be watched only for their performances.
I am really disappointed this film wasn't nominated for best foreign film, and Adèle Exarchopoulos wasn't nominated for best actress in a leading role at the Academy Awards.

Quotes

Emma: But I have infinite tenderness for you. I always will. My whole life.

Adèle: I miss you. I miss not touching each other. Not seeing each other, not breathing in each other. I want you. All the time. No one else.

Rating

9.0/10

Pride (2014)

Genre

Comedy | Drama | History

Director

Matthew Warchus

Country

United Kingdom

Cast

Bill Nighy, Imelda Staunton, Dominic West, Paddy Considine, Andrew Scott, George MacKay, Joe Gilgun, Ben Schnetzer, Freddie Fox, Monica Dolan, Liz White, Faye Marsay, Karina Fernandez, Jessie Cave, Jessica Gunning, Rhodri Meilir, Russell Tovey, Lisa Palfrey, Menna Trussler, Jack Baggs, Kyle Rees, Chris Overton, Joshua Hill, Feargal Quinn

Plot

The films tells the story of a group of lesbian and gay activists who raised money to help families affected by the British miners' strike in 1984, at the outset of what would become the LGSM, Lesbians and Gays Support the Miners, campaign. The National Union of Mineworkers was reluctant to accept the group's support due to the union's public relations' worries about being openly associated with a gay group, so the activists instead decided to take their donations directly to Onllwyn, a small mining village in Wales, resulting in an alliance between the two communities. The alliance was unlike any seen before but was successful.

Opinion

Based on a true story, Pride is a wonderful film about pride, friendship and solidarity. This film completely shares my opinion: discriminated minorities must help each other, whether they are gay and lesbian, workers, women or people with a different background.

The story, which could have been too tragic or too politically charged, is perfectly balanced. There is no shortage of laughs, though sometimes it gets a bit emotional.

Pride is my on my opinion one of the best films of 2014. Watch it and I promise you won't be disappointed. 

Quotes

Dai: What I'd really like to say to you tonight is thank you. If you're one of the people that's put money in these buckets, if you've supported LGSM, then thank you, because what you've given us is more than money. It's friendship. When you're in a battle against an enemy so much bigger, so much stronger than you, well, to find out you had a friend you never knew existed, well, that's the best feeling in the world. So thank you. 

Rating

9.0/10