As Michael and Robert, a gay couple in New York, prepare for Robert's departure for a two-year work assignment in Africa, Michael must face Robert's true motives for leaving while dealing ... See full summary »
Gregory invites seven friends to spend the summer at his large, secluded 19th-century home in upstate New York. The seven are: Bobby, Gregory's "significant other," who is blind but who ... See full summary »
Tony Award-winning actor and playwright Harvey Fierstein re-creates his role as the unsinkable Arnold Beckoff in this film adaptation of the smash Broadway play TORCH SONG TRILOGY. A very ... See full summary »
Jeffrey, a young gay man in New York, decides that sex is too much and decides to become celibate. He immediately meets the man of his dreams and must decide whether or not love is worth ... See full summary »
Michael T. Weiss,
"You won't leave me, will you?" Nick asks Brandon shortly after revealing to him the results of his last blood test for HIV. "I don't want to die alone." In spite of Brandon's protestations... See full summary »
A successful young L.A. doctor and his equally successful television-producer wife find their happily-ever-after life torn assunder when he suddenly confronts his long-repressed attraction ... See full summary »
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.
In a suburb of London, young Jamie is escaping sport hours, to avoid being the victim of his comrades. Young Ste, his neighbor, is beaten by his father, and comes to sleep overnight. They discover new feelings, sleeping in the same bed.
Perhaps the first film to put a human face on the AIDS epidemic, Longtime Companion follows the lives of a small circle of friends from the first mention of the disease in the New York Times in 1981. First referred to as "Gay-Related-Immune-Disorder," we watch the effect of the disease as it devastates the lives of our protagonists. Jumping between Manhattan and Fire Island, vignettes carry us from the it-couldn't-happen-to-me mentality of the early days of the disease to the invasive effect it has had on all of our lives, today. The title of the film comes from the New York Times' refusal to acknowledge homosexual relationships in their obituary section during this period. Instead, survivors were referred to as "Longtime Companions" of the deceased. Written by
Mark Fleetwood <firstname.lastname@example.org>
In the poster art and DVD cover, the image of the guys walking on the beach has been altered - some might say censored. In the scene where the poster/cover image is taken from in the movie, the character "Fuzzy" is wearing an ACT-UP t-shirt that depicts two sailors kissing with the tag line that read "Read My Lips", a play on then President Bush's "Read My Lips, No New Taxes" slogan. In the cover art, the t-shirt graphic has been removed so that he only has a blank white t-shirt now. In the film scene, in contrast to the poster scene, "Fuzzy" also has shaved off his beard. See more »
In the opening scene set in July 1981, a character plays a tape of The Human League's song "The Things That Dreams Are Made Of". However, this song was not released until October 1981 when it appeared on the band's album "Dare". See more »
The title is the newspaper obituary euphemism for a gay lover, and yet another discreet but frustrating reminder of how mainstream heterosexual society avoids confronting the AIDS epidemic. In an effort perhaps to offset public ignorance, Norman René's film of the same name almost resembles an AIDS awareness primer, dramatizing the deadly progress of the disease through the gay community since the summer of 1981, when 'safe sex' merely meant anything goes, but don't get caught. Like other American Playhouse productions the film is simple, unpretentious, and no less rewarding for being so straightforward. René and writer Craig Lucas have wisely resisted the temptation to make a 'Love Story'-style terminal illness melodrama, concentrating instead on the bittersweet pain and bravery of awkward hospital visitations and quiet deathbed encounters. Only the forced optimism of the final daydream rings false, unavoidably since the epidemic itself (still) has yet to be resolved by anything resembling a cure. The balance of the film is simply too honest to support such sentimental wish-fulfillment fantasies.
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