After a series of Broadway flops, songwriter Bert Hanley (Dixon) goes to work at a musical camp for young performers. Inspired by the kids, he finds an opportunity to regain success by staging an altogether new production.
Fernando, a.k.a. Fernanda, a 19-year-old Brazilian transgender woman, travels to Milan and becomes a prostitute to finance sex-change surgery. Fernanda dreams of becoming a "real" woman, ... See full summary »
Ingrid de Souza,
Having failed to break into professional opera in his native Germany (where, as an usher in West Berlin's Deutsche Oper, he would serenade the staff after the 'real' performances were over)... See full summary »
Joaquin (Polo Ravales), an unassuming fisherman, is forced to confront his homosexuality when his sex-starved wife Cynthia (Althea Vega) returns from her overseas job eager to get pregnant.... See full summary »
Khoi, a naive twenty-year-old, travels to Ho Chi Minh City from the countryside to begin a new life. It's his first time in the big city and he's looking for a place to live. He befriends ... See full summary »
Ngoc Dang Vu
Manh Hai Luong,
Vinh Khoa Ho,
Linh Son Nguyen
Felix is secretly in love with Ralph. This doesn't seem to be the biggest problem, but Felix is fifteen and Ralph is his thirty-four-year-old soccer coach. They meet every day in secret. ... See full summary »
Sebastien is a small town boy who moves to Paris and begins to explore the gay night life there. When a friend from back home calls to announce he's coming to Paris, Sebastien confronts some unrequited feelings.
Lonely teenager Marc is secretly in love with Olaf, the cool boy-next-door. He dreams about a relationship with him, and when the two go camping, this dream seems to become reality for Marc... 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 »
Bo is a transexual prostitute in Brussels who left home after being abused by her father. She's now in an abusive relationship with a neighbor and suspected by the police in a series of ... See full summary »
Misfits in their lives back home, a group of young people live it up at musical-theater camp. While the sports counselor is completely ignored, the kids' spend all their time in rehearsal for a grueling schedule that involves a new show every two weeks. Several personal stories come to the fore. Is talented golden-boy Vlad honest in his feelings about Ellen? Can cross-dressing Michael have a relationship with his parents? Will one-hit-wonder musical playwrite and now camp counselor Bert Hanley remain mired in drink and cynicism? Fireworks are in store when Fritzi, who slavishly serves glamour girl Jill, is finally told to get a life, and the parents of Jenna, whose jaw has been wired shut in a compromise to avoid being sent to "fat camp", learn a valuable lesson at the summer's big end-of-season benefit. Written by
Martin Lewison <firstname.lastname@example.org>
During a 2016 interview with Terry Gross on the National Public Radio program "Fresh Air," Anna Kendrick said that when she performed "Ladies Who Lunch" for this movie at 16, she had never seen "Company," the musical from which it comes. But she had seen the song's original performer, Elaine Stritch, sing the song three years earlier when both Kendrick and Stritch had been performers in a Broadway revue at Carnegie Hall called "My Favorite Broadway: The Leading Ladies." About the experience of being in the same rehearsal and performance space as Broaadway legend Elaine Stritch at just 13 years old, Kendrick said, "she did walk around in just a man's shirt and tights, which, you know, was a dream come true to watch her in action actually doing that.....to have seen how unapologetic she was off stage as well, that was very inspirational for that moment in my - in my teen performance of that song. ....she kind of threw herself around and, you know, any room she entered she just announced what it was that she needed. I mean, we - you know, we were doing a performance. It wasn't like we were hanging out at dinner, and she just came in and was like, somebody get me some bread. But she was - I don't know - she just seemed like very comfortable with the fact that she was a living legend. I mean that in the absolute best way." See more »
When Jill is in dressing room preparing for her "The Ladies Who Lunch" number, neither her wig styling or costume matches what she is wearing when she appears onstage moments later. See more »
[scene opens on Dee, Shaun and Company singing "How Shall I See You Through My Tears"]
[as singing continues, scene shifts to Vlad in his bedroom]
To all the critics out there, I know they're gonna review this, and I know they're gonna try to knock me - is it OK if I say this to the camera, Amber? - Okay. I only am who I am 'cause I was born that way. I have a gift, and I'm trying not to be selfish about it, but to use it. Okay? If you're gonna knock me for that, that's your problem....
[...] See more »
Being familiar with Stagedoor Manor, the camp which "CAMP" was based on, and having attended a similar institution as a child, I turned on this movie fully expecting a nice homage to a place where young people can be themselves and explore their personalities and interests. But instead I was completely blindsided by the horrendous script and exceedingly poor execution of this terrible excuse for an indie flick.
This film contains the most stilted and awkward dialog I've ever heard in a feature film. And I don't mean awkward in a fun, teenager way, I mean awkward in the way that some conversations just didn't make sense.
In other cases, character traits or flaws were mentioned in one scene never to be seen or heard about again; these traits and flaws had zero impact on the behavior of the characters and came completely out of left field.
Many key "plot points," in the film are not actually depicted, they are mentioned as necessary throughout to fill in the audience in a kind of "oh by the way" or "did you hear?" fashion. Instead, the script focuses on amateur and frankly boring musical covers by the less than impressive "campers." Also hindered by these overly-long and terribly-choreographed "show" scenes was the character development for the majority of the main characters. With the possible exception of Michael (Robin de Jesus), the campers and their theater teachers begin and end the film having experienced no personal changes, having undergone no transforming journey. Oh wait; one character does changes, however it wasn't over time brought on by understanding and acceptance, or simple cause and effect: it occurred in a matter of seconds, to suit the purpose of this hackneyed screenplay.
Probably the most horrible thing about the film was that there was no supervision of the handful of campers. In fact the only adults at the camp seemed to be two staff members, three instructors, and five musicians, none of whom ever appear as the campers run around all night, take off their clothes, make out, and have sex. And while I know, having attended and been a counselor at a camp like this, there are many real campers who have gotten away with such things and more, these particular campers seem carefree and careless about what they do; they don't have to sneak around or take any caution in their activities. In fact there are no consequences for anybody, whether they be drunkard counselors or campers trying, literally, to murder one another. Besides the obvious reasons this might be a problem, the no-holds-barred attitude of the campers kills any tension or intrigue in the campers revels.
To be perfectly honest, I don't know how this film got made at all. I know the place and I know it could make a great story if someone were to try it from a different angle, but this script didn't seem like it even made it to a second draft.
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