Szabolcs quits football against his father's will and returns to his country in Hungary to take charge of an inheritance from his grandfather. There, he meets Aron and they both explore their identities.
Martin seeks for a temporary job at Eugenio's house. When they recognize to be childhood friends, Eugenio offers him work for the summer. A power and desire game starts and their relationship grows beyond their friendship.
After his gay cousin dies from hepatitis, young Laurent, who lives with his best friend Carole, falls in love with Cedric, a plant scientist. He's afraid to inform his conservative parents that he is gay.
Ibrahim, a 14-year-old Moroccan boy, walks down a road in the outskirts of a big city alone and disoriented. Recently informed that he will be deported in two days, he packed his belongings and ran away. He is now alone with no place to go.
Malik has a lot on his plate when he returns home to Tunisia after living in France. He's processing his father's death, he can't come out to his mother, and his childhood anxieties have ... See full summary »
A young man returns to his family farm, after a long stay in ex-gay conversion therapy, and is torn between the expectations of his emotionally distant father, and the memories of a past, loving relationship he has tried to bury.
I loved this movie. The first time Jacob and Marko sit in the abandoned car is one of the most beautiful scenes I have ever seen in any movie, and they hardly say a word; it's all in their eyes and in the way they move. Kai Michael Müller (Jacob) is especially appealing, but both guys are excellent. This movie is far more sensual than movies with nudity and sex (Harvest has none of either).
I should give up trying to understand why other people don't like the same things I do. I can't imagine thinking this movie is slow or boring or dull. I watched it all the way through in one sitting because I simply couldn't break myself away from it. So much was happening that I didn't want to miss any of it. I've seen over a thousand movies in the past five years, and I could count on one hand the ones I've watched in one sitting.
There is no violence in it at all, and only the very briefest flash of hostility from a passing stranger. Nearly everything that happens happens within and between the two lead characters; and even when it is difficult (as it is most of the time for Marko) it is always tender, never violent. Maybe that's why it bores people.
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