Best of the Fest
Bulletproof: A Lesbian’s Guide to Surviving the Plot
October 4, 7pm
As a young queer woman, I can tell you I’ve been quite affected by seeing women like me constantly being killed off on screen. Documentarian Regan Latimer explores the damaging consequences of seeing yourself become disposable in the mainstream. In what could be a depressing narrative of repression, Latimer instead uses every second of her film to be absolutely delightful, drawing on painful experiences with a grain of salt because, after all, this is about television.
I dare you not to be endeared to Latimer and her collaborator (and stand-in) Lindy Zucker by the end of “Bulletproof.” Not only is it so incredibly charming, it is insightful and informative in the most unexpected ways. Latimer addresses the problem being shown while also working to find a possible solution, speaking with creatives on both sides of the lens. With its metanarrative, old-school PSA animations and terrific personal anecdotes, “Bulletproof” solidifies into a necessary text for the ever-expanding landscape of queer media.
Desire Lines
October 5, noon
“Archive fever: the desire to find, or locate, or possess that desire to find or locate or possess that moment of origin as the beginning of things.”
A hybrid of fiction and nonfiction, Desire Lines chronicles gay transmasculine desire through interviews and vignettes. The film is anchored by the fantastic Aden Hakimi and Theo Germaine, who play co-workers at an LGBTQ archive on the cusp of the COVID-19 epidemic. Past and present converge as Ahmad (Hakimi) finds himself transported into the queer landscapes he’s studying. We see trans men in all ages, of all ages, in historical contexts they have yet to be acknowledged in. “It’s still rare to see us guys on video,” Germaine says at one point, a rarity which the film intends to remedy.
The core of “Desire Lines” itself is the life, writings, and interviews of Lou Sullivan, a gay transgender activist. The movie is dedicated to him. His visibility is vital, not only for the two characters we follow through the fictional segments, but also for the men we meet through the incredibly raw and honest interviews director Jules Rosskam conducts. I was incredibly moved by that desire to be seen, heard, and understood. I cannot recommend this film enough.
Recommended
Riley
September 26, 9:15pm
If the intriguing premise doesn’t hook you, Jake Holley’s big, sad eyes surely will. Dakota Riley is the quintessential all-American teenager, stuck in a town small enough to make him feel as if he’s constantly being surveilled. The linear narrative, intercut with vignettes of Riley’s first-time hooking up with an older man, follows the beginning of the star football player’s senior year as it becomes harder and harder to conceal his queer identity. His father, a former star player, is now his coach, putting pressure on him to perform on and off the field. His handsome teammate, Jaeden, has been kicked out of his house for undisclosed reasons and crashes on Riley’s floor (their homoerotic workout scene is very much a highlight). Riley’s girlfriend Skylar is patient with him, but confused as to why he isn’t more physical with her. On top of this, his sexuality is quickly figured out by classmate (and his girlfriend’s best friend) Liam, complicated further by their mutual attraction.
Holley anchors this powerful ensemble cast that seem to make up Riley’s entire world. He is a big fish in a very small pond, unaware that a greater life awaits him. He doesn’t want to make the choice to be in or out of the closet, fearing for either outcome — a choice I’m sure many of us have had to make. No matter where you come from, you’re likely to see at least a little of yourself in Dakota Riley. Between the powerful performances and gorgeous cinematography, this film’s naturalism and relatability make “Riley” a major standout.
Chuck Chuck Baby
September 27, 7pm
All love between women — familial, platonic, romantic — is something beautiful that needs to be fostered and cherished. This seems to be the thesis of Janis Pugh’s delightful musical dramedy, “Chuck Chuck Baby.” Centered on Helen (Louise Brealey), a woman forced to live with her ex-husband and his new girlfriend as she takes care of her dying former mother-in-law. Her painful and monotonous life is disrupted by the reappearance of her rebellious childhood crush, Joanne (Annabel Scholey).
Even with its frequent musical numbers, Chuck Chuck Baby feels incredibly grounded and intimate. The love between these women is palpable. At one point Joanne asks Helen if the people she grew up with were ever nice to her. Helen responds with a profound sadness in her eyes: “Sometimes.” Those who have never been loved unconditionally cannot make sense of it right away. We follow her as she finds this love and begins to understand it. “Chuck Chuck Baby” is a beautiful story that teaches you it’s never too late to learn and receive acceptance.
Sebastian
September 27, 9:15pm
“You’ve got this wholesome ‘boy next door’ thing going on, but it’s all filth underneath.”
Mikko Makela’s “Sebastian” follows young novelist Max (Ruaridh Mollica) as he ventures into sex work to find inspiration for his debut novel. As his focus on his alter-ego Sebastian grows stronger, his relationship to the world as Max deteriorates. His job, friendship, and love life fall to the wayside in favor of Sebastian’s development. When those two lives begin to intersect, he has to make a choice.
Incredibly intimate, but not always erotic, “Sebastian” keeps itself from venturing too far into the salacious. It aims to show sex work as work, a job with its own highs and lows, but nevertheless a career. There is a structure to it, rules spoken and unspoken, all of which Max is learning as he goes. What makes the job so impactful to him is not the sex itself, but the fleeting connections with (usually older) clients, especially the bond formed between him and Jonathan Hyde’s Nicholas.
At twenty-five, Max already feels he’s missed his window to be an important writer. Early on he laments: “You know how old Bret Easton Ellis was when he published his first book? 21. I’m already late.” When Max receives notes on his novel, I can’t help but feel there’s a metatextual aspect to it. Max’s best friend tells him, “not everything needs to be a grand statement.” His mother implores him that he has the right to keep some things to himself. You can ask yourself why isn’t it X, Y, or Z — but Makela seems to know exactly what he wants to say. At times, the film can come across as a bit hollow, but I think its proximity to its subject warrants such a disconnect. “Sebastian” is about how far you can (and should?) go for your art. It explores the compulsive need to make what we are saying as artists worthwhile, the pressure to say it as quickly and perfectly as we can, and what risks we’ll take to do so.
Mascarpone: The Rainbow Cake
September 29, 2pm
I should’ve realized this was a sequel by its colorful subtitle, but alas! If you find yourself in my position, don’t worry. “Rainbow Cake” catches you up on the dramatic events of “Mascarpone” quickly and succinctly. Exes, pastry chefs, and former co-workers Antonio and Luca were once desperately in love, but have fallen out of contact for the past few years. When Luca approaches Antonio and asks him for a favor, how could he say no? A scheming new boyfriend, a clingy hookup, a household of wayward queer kids, and a new business venture all threaten to stop these two from reuniting. Can they possibly overcome such obstacles?
This is a steamy, heartwarming rom-com, with incredibly well-rounded characters you can’t help but root for — even at their worst. Plus, the cast is terrific. Gianmarco Saurino is hot, reminiscent of an Italian Jonathan Bailey. Michela Giraud is hilarious as Antonio’s best friend Cristina. “Mascarpone: The Rainbow Cake” is as sweet as the treat it’s named after, and a must-add to your festival watchlist.
Lesvia
October 1, 6:30pm
A mix of archival footage, photographs, interviews, and sweeping shots of Greek landscapes, “Lesvia” feels as almost as if it’s a dream. It could be one, with its impressionistic, memory-laden style. Eressos, a village on the island of Lesbos, was once a burgeoning colony of young lesbians searching for freedom and connection. In the late 1970s and early 1980s, Lesbos became a mecca of sorts, inviting women to visit the birthplace of Sappho. One interview subject puts it thus: “Women! From all over the f–ing place of the earth! I’ve never seen in my life so many women together!”
“Lesvia” chronicles the creation and sustainment of this haven. It is an incredibly well-crafted film. The interviews are honest and intimate, and director Tzeli Hadjidimitriou has us question what makes a lesbian (a homosexual woman or a native of Lesbos? The filmmaker is notably both) by highlighting stories from locals as well as travelers. However, this leads to a pressing issue that feels glossed over by the time the film ends. With the dueling perspectives telling both sides of the story, it puts the viewer in an odd position when the film eventually reaches its conclusion.
The viewer must ask: Is a new way of life ever established without violence? Be it societal, physical, emotional, or verbal? Can intentional communities sustain when the land is already inhabited? At what point does our community consume someone else’s? Who is worthy of being a lesbian (gay or of Lesbos)? “Lesvia” is certainly thought-provoking and I’m sure to spark many discussions. Despite how it may leave one feeling, it is genuinely a feat of historical preservation, instrumental in documenting a distinct period in queer history.
The Greatest
October 1, 8pm
There are many great things to say about “The Greatest.” The production design is fantastic, easily transporting the audience back to the early 1960s. The three leads deliver incredibly powerful performances, as do the older actors playing their older selves. The music is terrific — there were a few songs I found myself very excited to hear in a queer story. There are beautiful sun-soaked shots, whether it be through an apartment window or over the ocean skyline; tender moments between Jay (Isaac Nevrla) and Ricky (Sergio Acevedo), haunting moments of Beverly (Isabela Jacobson) isolated and coming to terms with her husband’s sexuality.
The pacing is a bit strange, and the story feels a bit rushed and, at times, unsure whether it wants to be too kind or too cruel. It’s a kind of queer misery we’ve seen for decades now. It is difficult, but at the end of the day, it is also an accurate depiction of the dangers of being gay in the twentieth century. However, all of this pain is worth it to get to an incredibly hopeful and beautiful ending. It’s another story of acceptance, a testament to the fact that it’s never too late to be your authentic self.
Disappointing
Ganymede
September 28, 7pm
I had high hopes for this new entry into the queer horror canon, but “Ganymede” never quite delivers on its electrifying premise. Though I have to admit, it’s worth it, especially for the moments of camp and a balls-to-the-wall performance from David Koechner. The true scares in this film come from inside the home, and the repression enforced by Southern fundamentalist Christianity. It is a horror of hypocrisy.
Being gay here is monstrous, both literally and figuratively. The Ganymede, as described by Koechner’s Pastor Royer, is an “unrepentant homosexual” whose deep ties to “demonic forces” make their homosexuality contagious; an infection of sorts. Like the figure of the Vampire, queerness becomes something unwillingly inflicted on the unsuspecting heterosexual. Our teenage hero, Lee, feels he must fight his impulses to survive, and making his desire a literal creature gives him something concrete to fight against. Jordan Doww makes a great scream queen, and his budding relationship with Pablo Castelblanco’s out and proud Kyle is the tender heart of the film. Robyn Lively delivers over and over again like the rent is due. Failings aside, “Ganymede” is a wild ride from start to finish and worth watching with a crowd.