After his mother dies, 15-year-old Charley must live with his unloving, bullying father. Out of loneliness, Charley strikes up an illicit romance with 29-year-old Eban. When their families find out, they must make a life-altering decision.
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Two couples are enjoying their summer at the beach, but when the grown son of one couple arrives, it surprisingly stirs something in the husband of the other couple, will the forbidden feelings end badly?
Maria de Medeiros,
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15 year old Tom is going to spend another calm summer with his parents and younger sister at their summer house. But by fate, another family comes to spend some time with them, with their 17 year old son Felix.
Charley is turning 15. For the past year, since his mother's death, he has lived in Seaside, Oregon, with his stern and unloving father. It's Christmas week when Charley meets Eban, a young-looking 29-year-old teacher from Seattle, home for the holidays to see his parents. They have things in common: both sign (Charley's mother was deaf), both play the guitar, both are gay. As their relationship deepens during walks on the beach, singing, and talk of poetry, we see it from their point of view and also from the points of view of both of their fathers. Charley's loneliness gives way to happiness when he's with Eban. But what of this grown man?Written by
A surprisingly subtle work worthy of a second look.
The film suffers on the big screen, due in part to the tech limitations of the digicam process and the somewhat hard-to-catch inflections of actor Giovanni Andrade (teenage Charley). The first half is slow, moody, and unwilling to tip its hand: one feels ambivalence toward the Brent Fellows character (Eban, age 29). Publicity shots show Fellows to be an acceptably handsome actor; but when we first see Eban, he is pale, stooped, unshaven, and the picture of a shattered soul. Those who leave at the midpoint--and I was tempted--will miss Eban's agonizingly slow growth, his gradual reawakening to warmth and human contact. They will also miss getting to know Charley, brought to life in Andrade's astonishingly detailed and sensitive portrayal through characteristic, near-dancelike movements and a slow, hesitant manner of speaking that rings absolutely true. If the parental figures are saddled with trite dialogue and minimal characterizations, I am more than willing to believe that this is fully intended by director James Bolton in service to his vision. I have now viewed the film three times, the last on DVD, and found more to admire each time around. (The DVD brings warmth to the faces of the principles not evident on the big screen.) In all, this is an admirable, subtle, and sensitive work that asks a lot of the audience, but gives a lot in return.
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