Twilight of the Gods

Game like lovebird, game like love...

That the director manages so adroitly to handle his material suffusing narrative with anthropological commentary, erotic sarcasm with a post-colonial sense of no exit, and the simple male-to-male recognition while preserving the important sense of inherent antagonism, usually depicted (if at all!) as antagonism between the sexes rather than between the lovers as such, is nothing less than a singular achievement. The maker of this short knows how to make love stay outside agendas.

The raw import of the love between the two men, and how its shortness is accessed, by making the two men's otherness elliptic (and perhaps more cunningly the white male's, so that his opaqueness in the end rhymes with white guilt and delirious beauty - the glimpse of his erection -, and makes Toa's chirpy talkativeness a sad affair in the end), must make it some sort of a legend.

Lovebird chirps is the name of the game, love plays the game, and love is the prey of gods.