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.
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 »
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
Once upon a time in the village of Kromer lived two beautiful young wolves. Cocksure Gabriel takes newcomer Seth under his paw and helps reconcile him to the vilification associated with ... See full summary »
Leo, an advertising executive in his mid-30s, falls in love with Alex who's just gotten out of a long-term relationship. While Alex doesn't quite know how to react to Leo's advances, Leo's facing trouble with Alex's oddball clique.
Three intercut stories about outsiders, sex and violence. In "Hero," Richie, at age 7, kills his father and flies away. After the event, a documentary in cheesy lurid colors asks what ... 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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