Reminiscent of Sunset Boulevard, Hustler White transposes the action from the silver screen's old movie backlots to contemporary male prostitution and the porn industry. Said to be an homage to classic Hollywood cinema.
Young and handsome Sergio works the night shift as a trash collector in Lisbon, Portugal. He can't force himself to connect with his pretty female co-worker Fatima, who displays an avid ... See full summary »
João Pedro Rodrigues
They come from all over Eastern Europe: Russia, Romania, Ukraine. They are Eastern boys. The oldest appear no more than 25; as for the youngest, there is no way of telling their age. They ... See full summary »
Frank Ripploh is a bit of a rascal: he's a bearded and shaggy-haired teacher, and he's gay with a very active sex life and an interest in making films. He keeps his personal life and ... See full summary »
Annecy is no tourist destination for three working-class Algerian brothers and their father, in the months after their mother has died. Marc is deeply troubled: he tries to stiff drug ... See full summary »
Max is gay and as such is sent to Dachau concentration camp under the Nazi regime. He tries to deny he is gay and gets a yellow label (the one for Jews) instead of pink (the one for gays). ... See full summary »
A young girl that regularly dresses as a boy falls in love and seduces a young girl that has no clue that her lover has the same sex. When the girl introduces 'her boyfriend' to her father ... See full summary »
It takes a certain caliber of film-maker to approach a genre which was intended to horrify its audience and, instead, make it amuse and move them.
I found "Otto; or, Up With Dead People" to be Bruce LaBruce's strongest work to date. The plot was both the most linear and accessible, and at the same time the most convoluted. Even with a lack of chronology, a dizzying metafilm of movie within movie, and multiple points of view and filming techniques, the movie manages to devote more time to standard plot development than previous Bruce LaBruce works.
Perhaps this was necessary to reach out to all the viewers on a more explicit level, and create empathy for a character, who belongs to a group of otherwise reviled monsters. It was quite bizarre to leave the theater relating to characters who had been shown brutally eviscerating each other in graphic detail.
But it is this feeling of commonality with a supposedly terrifying monster that makes the movie powerful and touching. The equivocal metaphor that compares conformist society to zombies is more like a thinly veiled reality: take away the blood and guts and what's the difference between the two?
It goes to show that you don't always need a grandiose and earnest tone to say something significant. Sometimes, the silliest and most ridiculous metaphors are the ones which uncover the most meaningful truth.
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