Iceland, Christmas time. As everyone prepares for the holidays, a peculiar atmosphere falls upon the country revealing emotions of both excitement and concern. In the middle of the ... See full summary »
Bent Kingo Andersen,
Stitches combines elements of thriller and melodrama, and deals with the story of newborn babies abducted from hospitals, which has been a hot social issue in Serbia recently. The script ... See full summary »
An off duty police begins to suspect a local man for having had an affair with his recently dead wife. Gradually his obsession for finding out the truth accumulates and inevitably begins to endanger himself and his loved ones.
A passionate coming-of-age tale set amidst the conservative confines of modern Tbilisi, the film follows Merab, a competitive dancer who is thrown off balance by the arrival of Irakli, a fellow male dancer with a rebellious streak.
Uncomprimising drama about a newly gay man in a traditional marriage.
Guatemala City is much like other prominent cities in South America: rich in diversity and burgeoning business. In the matter of gay men, writer/director Jayro Bustamante's Tremors depicts an Antigua state of mind: a family man who professes love for another man is in a world of hurt for his family and himself. Nothing is in the least progressive.
Such a narrow but not uncommon reaction by a local culture as offers a candid representation of the troubles gays can experience in a heavily Catholic and conservative small world. So authentic are the reactions, the film could have just as well have been about the effects of divorce on a community.
Pablo (Juan Pablo Olyslauer) comes home to a phalanx of family ready to condemn his choice of male love over his current heterosexual family life. Olyslauer's underplayed performance makes Pablo an audience-identifier of a person coming to terms with prejudice couched in family values.
Being unjustly called a pedophile, in order to separate him permanently from his children, may be the final indignity for a man who deserves not an iota of scorn for a choice not easily made and deeply felt for the grief he has caused his family and friends. It is rare to find such an honest portrayal of the difficulties a decision like his causes for everyone in his life.
Without rancor or weeping and screaming from his family, Tremors quietly exposes the blindness of those surrounding him and his own uncertainty that he may have made the wrong decision.
The later scenes of his society's helping him becoming normal through therapy are the real pain of Tremors because his heart is not in the transformation, but he is willing to sacrifice his own happiness to be with his family.
Nowhere in contemporary cinema will you get as uncompromising a view of the unjust heartache attendant on choosing a societal imperative over one's happiness.
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