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At the Movies: What to See and Skip at the Gay and Lesbian Film Fest
July 15, 2008
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By: Gary Kramer - gkramer@aroundphilly.com
Gary M. Kramer is a Philadelphia-based film critic who thinks Sandra Bullock mambos. He likes eating ethnic food and watching ethnic movies—though not necessarily both at the same time or from the same country.
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The 14th Annual Philadelphia Gay and Lesbian Film Festival just began, and there are plenty of films to go see. Here are some picks and pans of a handful of films unspooling at the fest.
25 Cent Preview
 As fascinating as it is frustrating, this low-budget hustler drama, shot mostly at night on the streets of San Francisco’s tenderloin district, follows Marcus (Merlin Gaspers) and his friend Dot.Com (Dorian Brockington) as they scam, do drugs, and have sex. The film is commendably gritty, giving a palpable sense of these characters’ lives, and what they go through on and off the job. However, while director Cyrus Amini shoots some of 25 Cent Preview using split screens and overlapping images, among other stylistic gimmicks, the film is at its best when it is in its fly-on-the-wall, documentary mode, especially during an extended sequence in a hotel room featuring Dot.Com verbally and sexually abusing his john, while Marcus watches, unable to sustain an erection. Unfortunately, when the rambling narrative starts to take shape after the midpoint, the film loses its raw appeal. It is easy to watch Marcus steal and seduce, but hard to care about him working on getting the money he owes some guys, or plotting revenge on a man who returns from his past. And when 25 Cent Preview tries to become a morality tale, it fumbles badly. YetMerlin Gaspers is attractive and seductive as Marcus, and he seems to be paying homage to Joe D’Allesandro’s hustler in Andy Warhol’s Flesh here. In support, Dorian Brockington is riveting, especially when he delivers his monologues to Marcus. Curious viewers should give this indie film a look, but they may feel hustled when it’s over. Sat., July 19, 9:30pm, Wilma Theater; Sun., July 20, 9:15pm, Arts Bank
3-Day Weekend
For this affable romantic drama, writer/director Rob Williams assembles eight gay men in a cabin “in the middle of nowhere” for three days. The characters are all defined by who -- and in one particular case, what -- they do. Jason (Douglas Myers) and Simon (Derek Meeker) are constantly fighting lovers. Along with their paired-off friends Ace (Stephen Twardokus) and Cooper (Derek Long), they each invite a “stranger” for the weekend. Jason asked Mac (Chris Carlisle), an IT geek he works with; Cooper brought his nude yoga instructor Kevin (Gaetano Jones) who helps the shy Mac work on his low self-esteem. Meanwhile, Ace’s horny college roommate Cameron (Joel Harrison) shows up, and Simon invites Andre (Daniel Rhyder), an escort he has been frequenting, causing consternation with Jason. As the octet of guys discuss gay cinema, open relationships, gay marriage and aging, they couple up, or—in the case of Jason, Simon and Andre –have a threesome. 3-Day Weekend is a passable time-filler. The drama is limited to one minor and one major outburst, and the mushy romantic talk is only mildly cringe-inducing. If the plentiful sex scenes are tastefully done (i.e., not overly erotic), there is plenty of candor and nudity. Yet the film’s biggest drawback is not the timid script, which has its heart in the right place, but that the cast of handsome actors are rather stiff in their roles. Only Chris Carlisle as Mac, the shy, quiet gay guy who makes a major transformation over the weekend, stands out in the ensemble. Wed., July 16, 7:15pm, Wilma Theater; Mon., July 21, 5pm, Prince Music Theater
Clandestinos
 This Spanish film about a trio of juvenile offenders who escape from prison goes off in unexpected directions and off the rails in the process. Xabi (Israel Rodriguez) is a good-looking youth who reveals himself to be not only a gay hustler, but also a member of a terrorist sect. Free from the detention center, he robs a policeman who wants him for sex, and later sets off a bomb in Madrid--all the while trying to track down his mentor, the cell ringleader. Clandestinos never gives viewers a reason to care about Xabi and his actions, and the subplots involving his buddies and their girlfriends are silly. The film is not particularly stylish either. The only real reason to see this movie may be to ogle the boys in various stages of undress. Tues., July 15, 5pm, Prince Music Theater; Sun., July 20, 7pm, Prince Music Theater
The Art of Being Straight
This well-meaning comedy of manners written, directed by and starring Jesse Rosen, plays with the fluidity of sexuality. A pair of LA twentysomething friends Jon (Rosen) and Maddy (Rachel Castillo, channeling Zooey Deschanel) both find themselves questioning their same-sex attractions. Jon is a straight player who is seduced by Paul (Johnny Ray), an executive in the ad agency where he works. Maddy is a lesbian who finds herself smitten with her male next-door neighbor. Although they each handle awkward situations, and try to come to terms with their true emotions, The Art of Being Straight is too superficial in its treatment of issues. Jon’s sexual confusion is never palpable, even when he’s shown to be conflicted. Maddy never seems to be particularly engaged with her girlfriend to generate empathy. Furthermore, the use of double entendres throughout the film as well as Jon’s friends’ continuous queer epithets—which are meant to underscore the sexual identity issues raised—are obvious, and not funny. The cast of performers are appealing, but like the film, they are skin deep. Fri., July 18, 5pm, Arts Bank
Just As We Are
An enlightening documentary about the difficulties of being Latino and gay, bisexual or transgendered, Just As We Are documents a half dozen men and women who negotiate both their sexuality and their culture. In the macho Latin culture, homophobia is a force, and as each interviewee testifies, the shame and fear of being queer have kept them in the closet for a good part of their lives. Yet as they come out and meet others like themselves, these individuals learn self-acceptance. Perhaps the most moving portrait in this collection of poignant episodes is David, a young man who tried hard to be what was expected of him—going on dates with girls, and playing sports—only to consider suicide before he came to embrace his sexuality. Just As We Are bravely puts a positive, empowering face on a vibrant culture. Tues., July 15, 5pm, Arts Bank
La León
 La León is a minimalist character study about Alvaro (Jorge Román), a gay man who lives and works on an island in northern Argentina. He is taunted and called a “faggot” by Turu (Daniel Valenzuela), a ferry driver. Turu may have issues with homosexuals, but he watches with more than a little curiosity as Alvaro takes a shower. As the men go about their lives—on the soccer pitch, on the river or in a bar—the drama culminates in a standard rape-and-revenge tale. Director Santiago Otheguy obviously cares more about mood than plot, and La Leon is heavy on atmosphere. But despite luminous black and white photography and sensually filmed naked bodies, La Leon surprisingly fails to elicit much in the way of emotion. Sun., July 20, 12:15pm, Prince Music Theater
The Way I See Things
It’s a safe bet that no two people will see writer/director/star Brian Pera’s microbudget film debut the same way—but that’s probably because this metaphysical tale of a young man coping with his lover’s death is so vaguely realized. Opening in black and white before shifting into color, this tale about Otto (Pera) escaping to a commune/ashram contains either dry, deadpan humor about being depressed, or is meant to be taken quite seriously. Or both. What is clear in this mostly muddled film is that Otto finds gay love, or something like it, in the countryside. Meanwhile, everyone around him tries to “separate me from I” (whatever that means). It’s no surprise that Otto has spent two months in bed; The Way I See Things is so dull, it’s likely to induce sleep. Fri., July 18, 9:30pm, Black Box at the Prince; Mon., July 21, 7pm, Arts Bank
Vampire Diary
While it opens with a Blair Witch-like confession, this story of Holly (Morven Macbeth), a filmmaker documenting a possible coven of vampires has more blood and (unintentional) giggles than scares. Stranger Vicki (Anna Walton) shows up uninvited to Holly’s apartment one night, and it does not take long for her to seduce the filmmaker. Suddenly Holly is on a crash course in “exchanging” (i.e., drinking blood) and body disposal. (Vicki is, um, murdering the subjects Holly is filming). Vampire Diary is stylish as hell—there is much handheld camerawork, smash-cut editing and other cinematic flourishes—but it never quite gels as a horror film, lacking suspense and scares. While Walton makes a very comely vampire, and Macbeth has some great sarcastic moments, directors Mark James and Phil O’Shea seem more concerned with look and atmosphere than plot and character. Unfortunately, despite the appeal of this lesbian vampire movie, Vampire Diary mostly sucks. Wed., July 16, 5pm, Arts Bank
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