​The Breaking Glass Pictures DVD release of the 2016 drama "Play the Devil" combines the two best genres in the Breaking catalogs; edgy indie films and gay-themed movies about mutual objects of affection facing strong internal and external pressures. The copious symbolism and social commentary are icing on the cake.

The accolades for this one include major wins at the Nashville and Woodstock film festivals.

The following YouTube clip of a festival trailer shows how tone and style perfectly convey the nature of the central relationship.

​"Devil" begins with the mother of all non-sequiturs that writer-director Maria Goven artfully ties into the final moments of the movie, which qualifies as the mother of all symbolism in films. These opening scenes are of two young guys apparently engaged in a rite.

The action then shifts to teenage prodigy/thespian Gregory stealing the show with his starring role in a high school non-musical with an aptly strong "Equus" vibe. This leads to successful middle-aged businessman James (who has a daughter in the cast) coming backstage after the performance to nag (pun intended) James to attend a party at his house. The combination of the overture and this being a Breaking release makes it abundantly clear that James wants to get Gregory on his casting couch and that that effort will succeed.

The early scenes further establish that Gregory fits several stereotypes in both his impoverished community on Trinidad and in inner-cities in the United States. He is a bright, ambitious, likable teen living with his loving grandmother because his parents are not equipped to raise a child. Gregory also has an older brother with a drug habit and a live-in girlfriend.

The pure methods of James regarding his relationship with Gregory include a desire to mentor him and to use his resources to help him pursue his dreams, which clash with the aspirations that his grandmother has for him. The impurity comes via desiring benefits from the unlikely friendship.

The not-so-subtle seduction escalates to James luring Gregory to his luxury beach house for a sleepover. The more subtle response of our boy clearly shows that he accepts with full knowledge that the older man wants something other than gas or grass for that ride.

Getting Gregory into bed does not require plying him with wine (drugged or otherwise). At the same time, our innocent seems to be acting mostly out of obligation and has serious regrets the next morning.

Gregory wanting to end things, but James wanting more relatively free milk drives much of the conflict in the remaining portion of "Devil." Multiple desperate times leading to desperate measures in the form of accepting further assistance from James does not help.

All of this occurs in the period leading up to the annual Carnival festival, which centers around a confrontation with a symbolic devil. The nature of the event this year is particularly personal for Gregory.

The drama this time begins with the two worlds of James colliding in a manner that may end him up in divorce court and estranged from his daughter. We also see that he once again makes a misdirected civic-minded gesture.

This leads to the inevitable final confrontation between James and Gregory. Even folks who are unfamiliar with the nature of Breaking releases know that this conversation will either end with a kiss, bloodshed, angry words, or some combination of the three. The final outcome is more surprising.

The appeal of "Devil" is the aforementioned substance of the film. Most of us want someone younger and cuter; many upstanding members of the community with an outwardly ideal life that includes a loving wife and offspring feel repressed in one or more ways, and help always comes at least with a sense a obligation. The almost impossible challenge relates to achieving a measure of joy in a manner that does not leave scars.

The DVD bonus features include a "making-of" film and a separate extra that has interviews with Gowan and producer Abigail Hadeed.

The Dekkoo Films August 28, 2018 DVD release of the 2017 gay-themed thriller "The Year I Lost My Mind" (nee "Jahr des Tigers") from writer-director Tor Iben provides a good chance to add a mildly erotic Hitchcockian thriller to your Halloween season viewing schedule.

"Mind" is the first (but definitely will not be the last) feature film for Alexander Tsypilev, who plays a literal peeping Tom. We meet this excitable 20ish boy buying a mask for a presumably nefarious purpose and soon learn that his preliminary objective is freaking out his sister on returning to the home that they share with their mother. We almost as soon discover that Mom is indulgent of Tom largely based on her understanding that he is not like other boys.

The real fun (and Hitchcockian element) begins when Tom and his partner-in-crime commit a daytime break-in of the apartment of studly 20-something gay-studies professor Lars. The kicker is that Lars (who apparently is a comatose sleeper) is taking a cat nap during this homo invasion and never wakes up. This encounter immediately triggers an obsession for Tom.

The following YouTube clip of a SPOILER-LADEN trailer for "Mind" provides a strong sense of the character study aspect, obsession, and overall suspense of the film.

The Hitchcockian vibe begins with the threat hitting close to home rather than the spooky isolated house. That setting and the related sense that someone has been in your home contribute to the familiar angst. We also get the element of fixation/obsession for which Hitch is famous. This is not to mention the building suspense that leads to the climax (no pun intended). One spoiler is that the outcome is not one that would ever enter the mind of notorious (pun intended) womanizer Hitchcock.

Another twist on Hitchcock is that Tom regularly returns to the scene of the crime both when sound-sleeper Lars is home and is away. Meanwhile, Lars gets direct and indirect evidence that a Goldilocks comes into his home while he is away. Those of us who have had a sniff-freak roommate can relate to Lars being perplexed regarding his underwear disappearing.

Ala Hitchcock and filmmmakers who emulate him, Iben has Lars almost catch Tom red handed. One twist is that it Tom likely fantasizes about being caught with his pants down but is unsure how Lars would react to finding him in that state. 

One of a handful of inevitable outcomes commences with Lars literally and figuratively waking up and Tom being the one who gets away. This leads to Lars commencing a manhunt that concludes with deliverance. The lesson here is that boys will be boys. 

An equally compelling portent revolves around Tom haunting a very busy wooded gay cruising area where he alternates between being the hunter and the prey; this setting also is one of two in which he acts on his deepest desire. The surreal elements of the trips into the woods are a highlight. 

Much of the depth comes from the symbolic aspect of the masks, other psychological elements, and Lars providing gay-history tidbits. This is not to mention the depiction of male aggression being tied into sexual desire. 

All of this amounts to a film that supports the theory that the erotic aspects of any movie typically have a converse relationship with the quality and depth of the film. "Mind" additionally successfully fuels paranoia related to losing intimate apparel and being sure that a personal item is someplace other than its prior location. 

The Breaking Glass Pictures August 14, 2018 DVD release of the 2017 coming-of-age drama "Porcupine Lake" honors the spirit of equal time. This tale of big-city awkward tween Bea spending the summer near the titular body of water in rural Canada  and entering an "its complicated" relationship with local girl Kate is a variation of the coming-of-age of a questioning boy bonding with a guy who is more sure about himself.

The following YouTube video of the Breaking trailer for "Lake" fully conveys the indie spirit and the new love vibe of the film. 

Our story begins with Bea and her school-teacher mother arriving at the gas-station/diner that her father is running in the wake of inheriting it from his father. It seems that the family is reunited for the summer several months after Dad moves from Toronto to fulfill his family duty. Ambiguity regarding the level of estrangement between Mom and Dad is an intriguing element of the film.

Middle-class Bea literally soon catches the eye of upper-lower-middle-class Kate, who quickly makes a move on her future summer friend with possible benefits. Kate definitely is the aggressor in this relationship. It is equally clear that she is more developed on every level than Kate. 

The primary focus is on this vacation romance in which Bea sells cheap trinkets outside the diner and Kate deals with her somewhat shameless family that includes aptly named teen stud Romeo. This playah does not let being a baby daddy affect his dating life. 

Although the girls dream of a life together, Bea is more realistic than Kate. It is interesting that the fantasy of the local girl essentially includes a life of luxury in Westchester with her math teacher.

Writer/director Ingrid Venninger shows throughout "Lake" that she knows of which she writes; this is particularly true in separate scenes in which Bea expresses the extent to which she will go to be with Kate and Kate makes a heart-breaking breaking effort to escape her environment. 

As indicated above, one of the nicest things about "Lake" is that is shows that both boys and girls do cry. One apparent difference is that boys who like other other dudes are much less comfortable acting on it and definitely are more reticent about activity that indicates that the opposite sex does not interest them.

The feature-length "making-of" documentary "The Other Side of Porcupine Lake" shows the love of Venniger for the project and the support of Breaking for the production. Getting to see every aspect of making this shot-on-location film that features locals with no acting experience is fascinating.

It is equally interesting to see multiple thespians audition for the primary roles. Although most hopefuls do a good job, one can easily understand the casting decisions. Seeing the actor who plays "Dad" with a significantly different look provides further entertainment. 

One highlight is watching Veninger first find and then arrange to use one building for "Lake." The most fun comes on seeing a presumable prod. ass. literally strip down and take one for the team as Veninger puts him through his paces.   

The other extras consist of additional audition footage and separate cast and crew interviews. The enthusiasm of the kids is fun. 

The Dekkoo Films July 31, 2018 DVD release of their eponymous LGBTQ streaming service web series "Paper Boys" further proves that their boys fully understand the mind of the modern gay man (and boy). Copying reviews of past great Dekkoo reviews of their fare from Unreal TV 1.0 to this site is a current homework assignment.

The first sign that "Boys" and (Dekkoo) is a cut above the competition is an early scene in which a random boy coming across 20-something artist Cole stripped to his designer briefs in the course of changing clothes in an airport bathroom does not lead to a wham, bam, thanks dude encounter. Cole is newly arrived in San Francisco from New York and is freshening up for a job interview.

The impetus for the trip is a party celebrating the engagement of best friend Daren to Rebecca. This "happy" couple is putting Cole up on an air mattress in the living room. 

The drama begins with Daren confessing to Cole that the engagement is a mistake and strongly indicating that he would like an out (mostly likely in more than one way). A more direct form of fantasy soon enters the picture (pun intended) on Cole discovering that his sketchbook is enchanted. This bewitching activity is in the form of everything that Cole draws coming true. The best scenes involve the artist and Daren testing that power.

Additional homolicious drama is in the form Cole confessing that he is a potentially long-term house guest as part of an arguably extreme effort to avoid his New York summer boyfriend Max. Subsequently running into Max in San Francisco teaches Cole that fleeing the scene of the crime is not always the most effective exit strategy.

This leads to Coren visiting the apartment of Max and his roommate Kalvin. Kalvin and Darren spending an entire party bonding in the bedroom of Kalvin provides an additional indication that Darren is realizing that he likes boys better the girls. Dekkoo further shows its quality in this regard by not having this outwardly straight guy engage in drunken or otherwise spontaneous sex with either Kalvin or Cole.

The drama amps up on the truth (if not Darren) coming out, This occurring in one of the worst possible ways is very true to a Millennial sensibility. The roughly final third of the series addresses the fall out, which includes the impact of the relationship between Cole and Darren. .

Aside from having a likable and attractive cast tell an interesting story with a fun touch of magic, "Boys" is notable for its 21st century morals. One aspect of the enhanced acceptance and legal rights that gay men have is that that opens the door for men who view themselves as straight to at least take the field with the other team every so often. This relates to seeing that the grass is pretty green on that side of the fence and having greater freedom to at least discuss exploring options.

An associated theme is the greater opportunity to take a relationship with a close male friend to a more intimate level; that guy being openly gay increases the chances of an actual bromance. The potential pitfall being that what is experimentation and fun and games to the rookie often means at least a little more to the veteran pitcher or catcher. 

Dekkoo enhances the experience of the show with a special feature that likable and attractive producer/director/writer Curtis Casella hosts. Among other things, Casella shows us alternative scenes and explains why they end up on the cutting room floor. 

The Dekkoo Films October 9, 2018 DVD release of "Testosterone Volume One" aptly depicts treats and actual and figurative tricks regarding modern gay life, This scope of these four short films includes the bittersweet aspects of any first love, the agony and the ecstasy of being a boy who likes other boys, and a dark comedy about regicide of a queen.

The following YouTube clip of the Dekko trailer for "Testosterone" is a music video that provides a sense of the highly stylized and equally emotional themes of the films. 

The first film "End of My World" by Kamil Krawczycki is notable both for being the first gay-themed short film from Poland and the most relatable movie in the group, Dreamy 20-something Filip is very despondent regarding his recent break-up with arguable soulmate Eryk. Some of the angst relates to Eryk disappearing without a trace immediately after pouncing on an opportunity to end the relationship.

Filip claiming a mental health day leads to a montage of despair that prompts flashbacks of his life with Eryk. These scenes particularly ring true regarding all forms of first love but also apply to every relationship. Associated aspects are one person being more in love than his or her counterpart and failed efforts to salvage what no longer is a great thing.

The title of "World" reflects the feeling associated with a relationship ending; other themes are one ending leading to a new beginning and whether Mr. Right Now can become Mr. Right. The latter ties back to the issue of one person being more in love than the person with whom he or she makes the beast with two backs. 

The bigger picture this time is Poland being roughly 20 years behind the United States regarding gay rights. Societal acceptance seems to be at toddler stage, and young gay men are struggling with the extent to which they are comfortable coming out; we see how this option being so new can strain a relationship in which one boy is comfortable walking down the street holding hands and the other is at the stage that spending the entire night together is a big deal, 

"The Surf Report" is the most odd of the films. It continues the theme of a literal lost love. In this case, surfer "K" apparently hitches a ride to Rock Rock Rockaway Beach in New York where he has very surreal experiences. Meanwhile, the efforts of boyfriend to find this little merman aptly include visiting a psychic who has shades of Whoppi Goldberg in "Ghsot."

The time shifts and very creative cinematography in "Report" make the film especially compelling. 

Dekkoo continues  doing a good job with the continuum in having "It Gets Better?" This one starts out ambiguously with a clearly distraught middle-aged man watching a streaming video of a younger guy pouring out his heart regarding his distress related to being gay. A highly probable interpretation of all this is that the older man is the father of the younger one. 

We soon learn the story of the older man. The theme generally is that he is older, wiser, and somewhat happier than the Millennial. This narrative includes the most erotic (rather than pornographic) scenes in any "Testosterone" film. 

Dekkoo chooses wisely in breaking from the trauma, drama, tears, and recriminations in the first three movies by ending things on a light note. Describing the dark comedy "Killer Friends" as being student-film caliber merely refers to the indie and micro-budget vibe. Even before watching it, you know that writer/director Zach Noe Towers casts himself in the starring role.

One puzzle is why Dekkoo includes this not-so-good movie with the others. It seems that there must better comedic options than this short by this YouTube star, who is an unambiguously gay version of Jake Paul.

The premise of this film by Millennials for Millennials is that 20-something Jill is so fed up with former college friend/current roommate Scott that she recruits her boyfriend Brian and their mutual  friend Heather to kill Scott during a camping trip. A major plot hole is why Scott warrants this treatment rather than ending his roommate agreement with Heather and she and her friends merely becoming the ghosting trio,

The biggest flaw in this vanity project for Towers is that he both plays it so over the top that he way out Paul Lyndes Paul Lynde. Further, most of his line are very predictable regarding things such as repeating an absurd insult or revealing a secret just as the subject of that remark falters in  his or her conviction to kill him. One spoiler is that Scott is such a flamer that it seems that the others do not need to douse him in a combustible substance to Michael Jackson/Richard Pryor him.

This perhaps last-day-in-the-life-of film quickly becomes a Looney Tunes cartoon in that every attempt to snuff Scott boomerangs on the attacker. One fully expects Brian to order a cannon from Acme, to have that weapon arrive within seconds, and then to have the barrel flip around and fire in his face when he aims it at an oblivious Scott. 

The bottom line regarding "Testosterone" is that three out of four truly is not bad. Further, good intentions exist regarding including "Friends." As mentioned above, it ends things on a light note that contributes diversity.

Best friend of edgy indie filmmakers Breaking Glass Pictures continues demonstrating compassionate good instincts regarding sensitive coming-of-age Euro films. The August 7, 2018 DVD release of the 2014 Danish drama "Speed Walking" roughly coincides with the reviewed MUST-SEE Breaking release of the 2017 French dramedy "My Life With James Dean." "Dean" tells the overlapping stories of an independent filmmaker having a comically horrific experience screening his first feature and a gayby experiencing his first true love. 

The international and timeless appeal of "Walking" stems from modern audiences from all over the world being able to relate to at least portions of the experiences of 14 year-old Martin in 1976 small-town Denmark. This credibility also reflects director Niels Arden Oplev stating in an interview on the DVD that the film is based on the real-life of the author of the memoir on which "Walking" is based. The strong acting by the main cast further helps sell the story.

An alternative context is that the coming-of-age, the large number of quirky characters, the role of death, and the moderate element of assorted forms of sexuality make "Walking" seem like a John Irving novel. 

The following YouTube video of the SPOILER-LADEN Breaking trailer for "Walking" provides a storng sense of the above elements. 

We aptly first meet Martin engaged in the titular sport with best friend (with benefits?) Kim. Raucous horseplay in the locker room subsequently ensues, and the boys then go on to have a typical school day. This all occurs in the period in which Martin is in the final stages of preparing for his confirmation.

Everything changes on a completely unprepared Martin arriving home; Family friend Lizzi tearfully tells the boy that his mother is dead. This leads to Martin facing his bereaved father and his 16 year-old brother Jens, who is almost completely out of his mind.

The rites of passage in the form of losing a parent and formally declaring himself to God while also having a range of sexual urges combine to prompt Marin in transitioning from a boy to a man. Anyone of either sex who fully shares a life with an adult male knows that the truth is that the inner boy always asserts himself.

The female object of the affection of Martin is classmate Kristine. Our grieving horn dog uses his recent loss to his advantage regarding his pursuit of this girl. Further, Kim is following a bros before hos attitude in giving Martin first crack at Kristine.  

The numerous memorable moments in"Walking " further make it notable. We get Martin showing his lack of game (but not necessarily lack of success) in trying to get some on multiple fronts, losing it in an unexpected (but very symbolic) manner at the funeral of his mother, and having a cute and loving intimate encounter with a terrific humorous element. Another highlight involves Martin and his crew trying to catch his father in the act. 

Oplev provides an especially good payoff in having the mayhem lead to the Confirmation;; young blonde Martin wearing an ascot and an open shirt makes one think that he has a mystery to solve. 

More fun, tears, and recriminations come in the wake of the Confirmation. A jealousy-fueled heartbreaking betrayal equally affects Martin and viewers, we get a moment in which we see Jens living one fantasy of teen boys, and Martin finds that he has one last rite of passage to endure.

The central theme regarding this eventful 108 minutes is that every male of every age needs a mother. This role often falls to someone other than the person who gives birth to you. She is who listens to your problems, supports you regardless of whom you love, and cleans you up without judgment when drinking too much results in covering yourself in a soup of every possible bodily fluid except blood.

TLA Releasing artfully combines travelogues and universal love stories with the recent DVD release of the 2018 drama "Grimsey." The spoiler is that you will ache to board the next flight to Reykjavik on seeing this one. 

The following YouTube clip of the Releasing trailer for "Grimsey" reflects the awesomeness of promos for indie films in that they consistently accurately reflect the themes and the tone of the film., In this case, the scenery and the angst of lost love receive equal attention.

The largest theme this time is the long tradition of a gay man abruptly ending what his boyfriend often thinks is a stable and mutually loving relationship. Combined cowardice and justification that simply vanishing is kinder than confronting everyone from a fuck buddy to a genuine partner with the awful truth prompts simply not returning messages and never seeing the person again. Learning that the love is one-sidedl without discovering why can devastate the rejected boy.

The hut guy in "Grimsey" expresses the above sentiments this in highly relatable voicemails to the one who ran away. Not knowing for sure that the other person is alright and not being told the reason for the radio silence is torturous for a man who has the sensitivity that being boyfriend material requires. 

Bruno in "Grimsey" has it even worse than usual. Photographer boyfriend Norberto simply does not return from a trip to Iceland, A police investigation confirms that Norberto never boards his scheduled flight home, However, there is no indication of intentional or accidental bodily injury.

A distraught Bruno flies to Reykavik to find his boo but meets local tour guide Aranu, who joins the quest. This being a gay-themed movie ensures that Bruno is the object of the affection of Arnau. However, another truth of gay life comes in the form of Bruno being so obsessed with his mission that he is oblivious that the handsome and sweet guy next to him may be his actual Mr. Right. Most gay men can relate to being on both sides of this type of relationship.

Amusing support for the theory that every gay man knows each other leads to Bruno travelling several hours across Iceland in search of Norberto; although he initially is reluctant to let Arnau tag along, a sweet gesture indicates that Bruno is open to the idea of moving on.

That journey leads to the titular island that literally and figuratively is the end of the road. It is equally apt that this is the point at which Bruno must decide whether he is going to fish or cut bait, The final word on this subject is that the outcome may be that Norberto is the one who gets away.

The relatability of "Grimsey" continues to the the final scenes. The lesson here is the same as the one throughout the film in that a good man is particularly hard to find when your dating pool is limited to 10-percent of the population and many eligible candidates are married. This makes it important to go the extra mile to find Mr. Right. 

Breaking Glass Pictures impressively outdoes itself regarding the August 28, 2018 DVD release of the 2017 French dramedy "My Life as James Dean." The only criticism is that Breaking does not make this beautifully shot film with a solid soundtrack available on Blu-ray. 

The best way to think about this one is that it retains all the style and humor of a classic French film while adding a splash of a Michael Chabon or John Irving novel. We get outrageously comical characters going to extremes to pursue overlapping passions. 

The mention regarding accolades this time is that the lack of them is astonishing; one cannot imagine festivals passing this one over. 

It is not surprising that relatively new indie filmmaker Dominque Choisy knows of what she speaks regarding the film screening aspects of "Life." It is surprising that a woman has the depicted insight regarding regarding young gay love.

The metaness of "Life" begins with this film having the same name as the fictional film of 20-something first-time director Geraud Champreux around whom the Choisy film is centered. Personal metaness relates to frustrating efforts to arrange screenings of an exceptional indie film of a 20-something righteous dude.

The opening scenes are of Champreux riding a bus to a small Normandy town to host a screening of his film about a man who believes that he is Dean. The comic misadventures begin with losing a modern lifeline when he arrives at his destination.

The audience next gets a glimpse at the life of a first-time indie filmmaker when no one is there to greet Geraud. His subsequent encounter with locals at a bar is the first of many "Northern Exposure" style incidents that reflect the personalities of quirky small-town folk.

Our man temporarily without a country manages to find the theater where his film is to be shown only to be told that his appearance is a surprise and that no screening is scheduled. This discussion includes commentary on the overall sad state of modern cinema in which commerce typically trumps art. 

The next stop it the hotel that is the best guess regarding where the woman behind the invitation is putting up Geraud. This brings him in contact with disaffected Jill-of-all-trades hotel employee Gladys,. Her amusing lazy dismissive approach to her job is very familiar to frequent travelers. 

The penultimate piece of the puzzle comes when Geraud meets box-office worker/projectionist Balthazar. This canard odd can be considered the very late-in-life brother of mop-topped tall and lanky slacker-type character actor Hamish Linklater. 

Another meta moment occurs when the first moments of the fictional film mesmerize Balthazar to the extent that transference results in his falling in love with an unresponsive Geraud. This innocent small-town boy also most likely never having felt the touch of another man is another factor.

The final piece of the puzzle comes when booker Sylvia van den Rood belatedly shows up and subsequently ensnares Geraud in her personal drama that is responsible for neglecting him. This coincides with a sweet declaration of love by Balthazar. 

Balthazar outdoes himself in putting himself on the line by showing up uninvited for a booty call. Being given the boot not deterring him is another notably sweet moment in the film. This is relatable to the perk of being a gay man in the form of sometimes being the pursued one in a relationship. We all desire to feel wanted and loved.

The subsequent screenings set the stage as our core group of three and various hangers-on travel through the area. 

The biggest surprise comes when casual conversation with the parents of Balthazar leads to a surprise reveal that is a potential game changer. The subsequent developments reinforce that the French are amazingly much more casual about sex and nudity than Americans.

Choisy keeps the fun going to the end as Geraud helps two fugitives as he figuratively rides off into the sunset. The final scenes fully seal the deal regarding the quirky charm of "Dean." 

The TLA Releasing DVD release of "French Kisses" provides a good chance to see a variety of styles and themes related to gay boys (and men) in love. These shorts also support the theory that the best movies are the ones with the strongest live-stage vibe.


The films about teen boys have their merits that extend beyond seeing seeing attractive young guys either often in deep thought or extreme joy. They reflect the angst that most boys who like boys experience when they discover that aspect of themselves. Mainstream cinema increasingly addressing this theme reflects its importance in society.


The films that focus on males who are adequately physically developed to shave at least every other day shows the wisdom of not sending in a boy to do the job of a man. In the case of the selection in "Kisses," the movies with the more mature themes in every sense have the most depth and the most compelling stories.


"Herculaneum," which is a  highly symbolic title, arguably is the most relatable film in the set. It revolves around two 30-something guys who repeatedly hook-up through a web-based cruising site. The largest theme is the disparity that often exist regarding the attitude as to a sex act, especially when it comes (no pun intended) to gay men. No one should expect that a casual encounter will lead to a long-term relationship, but what is merely a bit of fun to one guy may have even a little more significance to the other.


The real truths come out in the climatic (pun intended) scene in "Herculaneum." Our boys finally are enjoying the intimacy of sharing a bed for the night after having at least two home runs. The pillow talk includes learning basic information such as the professions of the men that typically is shared before the genitals of one person are inserted in the orifice of another. A related aspect of this is the reasonableness of the expectation that a man whom another man allows him to penetrate him in the most intimate manner possible will have lunch with the pentratee.


The next most relatable movie is "Ruptures," This one initially seems to be a documentary by and about 20-something Gabriel largely is about relationships in the context of the relationships of his peers.


A "chance" encounter with ex Andre while these guys were boys in Brazil dramatically shifts the narrative in every sense of that term. Gabriel literally turns the camera on Andre to ask about his feelings regarding their relationship; the gist is that Gabriel hurts this nice guy, real bad.


Gabriel falsely stating that the camera is off allows the audience to witness the sex, lies, and videotape associated with the reunion of the young lovers. we further witness Andre turning the tables on Gabriel.


Most of us lacking personal experience regarding the final film in the set is a good thing. An evening in which a middle-aged man host a younger man for dinner proves that visits like that are fun until someone ends up duct-taped on the floor while the other guy tries to break into your safe. The surprising part is that this is in not the end of this tale of a rent boy turned rough trade.


A teen experience of a friend of a friend (REALLY) shows that such occurrences relate to some. The price that this closeted high school boy pays for bringing a hookup home while his parents are out for the evening includes the trick (pun intended) of being left tied naked face down on the bed in the master bedroom and the house being robbed. A valid perspective regarding this is that something that is devastating if it happens to you can be hilarious when someone else is the victim.

The concept of the Margin Films documentary "Gay Hollywood Dad," which premieres August 2 2018 at the New York Asian-American Film Festival a day before debuting on Amazon Instant Video, is laudable and has great potential. The sad truth is that 29 year-old filmmaker/titular single parent Quentin Lee sacrifices the opportunity to share his unusual experience to promote his career. "Dad" also suffers from being produced with eye toward being a reality web series.

The following YouTube clip of a trailer for "Dad" shows how the film starts strong before becoming standard reality show fare. One can only fear Lee creating a series titled "The Real Toddlers of Los Angeles" featuring his son Casper.

The central concept of "Dad" is strong. As Lee states at the beginning of the film, his desire for a child that is biologically his prompts choosing surrogacy., We remain on course as we meet gestational carrier Crystal Primavera as she prepares to give birth in her home state of West Virginia.

The veering into reality TV territory roughly 5 minutes later is where things start taking a turn for the worse. The cast of stock characters include aptly named Adrian Ho, whom Lee identifies as his partner. The apparent reality is that Ho is not figuratively or literally prominently in the picture. His conspicuous absences include not accompanying Lee to witness the birth of the baby or on separate trips to meet the grandparents. 

Further, Lee comments that Ho is more comfortable than him regarding going home with Mr. Right Now. All of this points to Ho being more fuck buddy than life companion.

The "plot" when the gang gathers at Chez  Lee is that Lee wants a 100-day celebration of the birth of Casper. The explanation of the reason that Chinese people celebrate that milestone is interesting. The drama begins with debates regarding the venue and the budget for the event.

One uncomfortable TMI moment during the party involves Lee telling the group that his sperm was used in the process of that lead to the birth of Casper. This is contrast to the more appropriate option of stating that he is the biological father.

Lee comes across much worse minutes later as we see him in the back seat of a car sharing that he is too drunk to drive; he adds insult to injury by joking that he looks forward to Casper being old enough to be a designated driver. It also is presumed that this too polluted to operate a motor vehicle father of an infant does not have anyone staying at his home that night to help care for the baby.

The popularity of Lee further falls when he discusses not having as much time as desired to film babies on a prior film project. This creates an impression that his motives for having Casper include having as much time as needed with this "prop" for the upcoming horror short "In Halloween" that Lee heavily promotes to the extent of including most of that film in "Dad."

Things calm down from there as Lee brings Casper to Hong Kong to meet the grandmother of the child and celebrate her birthday. Not much drama ensues during that trip.

More drama ensues during a Christmas week Vancouver trip to meet the generally grumpy Grandpa. It is clear that this man is overdue for a visit from four ghosts. 

Lee wraps up "Dad" with a discussion of taking Casper on the red carpet during a film festival. This ties into discussing the infant liking some restaurants better than others. Speaking as one who often comes close to grabbing a loudly beeping game console or a streaming device playing a children;s video from the hands of a toddler and smashing it on the floor at a restaurant, Lee should not drag his son to dinners as if the boy is a chihuahua in a Louis Vuitton purse. The general rule should be that no one under 10 should eat anyplace that does not advertise on Nickelodeon. 

The bigger picture is that "Dad"  is squandered on an affable man who clearly loves his son but seems to not have properly adapted to his new reality. An average 'mo with  a 9-to-5 job and actually must let his bundle du joie greatly disrupt his life seems to be a better subject for this theme. 

The Breaking Glass Pictures DVD release of the 2017 French drama "Hidden Kisses" awesomely puts the Breaking edge on an otherwise light story of two high school boys in love. "Kisses" being a TV-Movie both explains the slight "After School Special" vibe oand further proves that the French are much more progressive and cool than Americans.


The 21st-century centric drama begins when "new boy in town" 15 year-old everyteen Nate meets a mystery boy for the titular buss in a dark greenhouse during a large party. An unknown person takes and uploads a photo in which only Nate is identifiable. The picture going viral among students, parents, and faculty simultaneously forces Nate out of the closet into a hostile environment and triggers speculation regarding the identity of the other boy.


The fallout extends to straining the previously close relationship between Nate and his widowed police chief father Stephane. Stephane still loves the sinner but is not fond of the sin and has difficulty accepting his new normal.


Meanwhile, Nate is subject to increasingly vicious bullying at school and is experiencing the heartbreak of his secret boyfriend ignoring him. This culminates in a brutal beating with an equally horrific emotional element. The latter reflects the same insecurities behind real-life gay boys and men yelling "fag" om the mere sight of an effeminate man and throwing the first punch in a dark alley behind a gay bar.


The next round of drama occurs when the rookie mistake of not clearing a browsing history results in identifying the other boy in the photo. This both forces him to come to terms with his sexuality and to contend with his enraged father, who believes both that he literally can beat the gay out of his son and that conversion therapy is effective. The related emotional abuse is equally painful to watch.


The film not being a product of Hollywood (or Logo) and this not being the '90s allow for "Kisses" to not conclude with a fairy tale (no pun intended) ending with our princes slow dancing at the prom while their smiling peers, teachers, and parents circle around them. However, both boys survive the traumatic aftermath of being outed and get a quantum of solace; they additionally get one adorable scene that provides some hope for greater societal enlightenment.


"Kisses" addresses the good news regarding this issue; boys coming to terms with liking other boys should be spared the scorn and torture of the generation before them. The bad news is that the reality is that coming out as a teen (and often as an adult) still likely comes at least with the price of nasty looks and comments behind your back.

The TLA Releasing June 12, 2018 DVD release of the 2017 drama "Al Berto" is among the new generation of Millennial-centric period pieces that center tales set in game-changing eras around groups of 20-somethings. In this case, the titular writer/trust fund baby converts his family mansion in Sines, Portugal to a Bohemian-style commune where he and his friends create their art and practice freeish love in an era in which the nation is transitioning from a dictatorship.

The numerous accolades for this film include the Best International Award at the 2018 FilmOut San Diego festival.

The numerous relatable international and timeless themes in "Al Berto" greatly contribute to its appeal. The titular character represents a trifecta of ill will regarding providing the locals a focal point for their general frustration and adjustment to the new normal. He is an outwardly lazy rich kid, spends his days in idle pursuits that include writing poetry, and is gay. The object of his affection being fellow trust fund baby Joao does not help matters.

A member of the group coming from a modest background and having a mother who regularly reminds her of her roots provides an interesting perspective. The issue here is whether the poor girl down the hall is a member of the inner circle or merely either a mascot or a charity case. 

Writer/director Vicente Alves de O does equally great jobs with the two related  primary themes of "Al Berto." Our sensitive soul is simultaneously contending with coming to terms with the world actively fighting his effort to create a Utopia while also trying to have a first real relationship with a guy. Having limited people skills does not help matters. 

The drama predictably amps up in unpredictably ways. This includes attacks on two fronts after some hope of lives of peace, love, and understanding. A great aspect of that hope for the future is the arrival of an adorable group that really help get the party started. 

"Al Berto" further speaks to teens and 20-somethings from 2018 by showing that having passion and a large group of like-minded folks has a long tradition. It also reminds those of us with a few more years on us that we both used to have those ideals and act on them in a manner that illustrated that we did not care about the narrow-minded views of the adults who were the same age as our current one. 

The blessing regarding the (mostly) guys who make indie films is that knowing their work provides a cool one-percenter feeling of being one of the elite relatively few who are in on the awesomeness; the curse is that the appeal of these labors of love and the men who make them elicits righteous indignation that the studio systems prevents them from making widely distributed films that have the integrity to which every director and writer should aspire. This particularly is true regarding young lion Lithuanian auteur Romas Zabarauskas.


The (reviewed) semi-autobiographical Zabarauskas film "You Can't Escape Lithuania" discusses the extent to which this triple threat producer/director/writer will go to get his vision in front of audiences. The reel-life Zabarauskas refers to the real incident of his sire offering a nude photo of himself as a crowd funding premium to make a movie. One cannot imagine Affleck and Damon issuing similar "junk" bonds if faced with a lack of funds for "Good Will Hunting."


On top of this, Zabarauskas uses both the media of film and the exposure (no pun intended) that his movies provide to further his cause of shedding light on the government-supported rampant discrimination against homosexuals in Lithuania. This is particularly so in the (also reviewed) superb 2011 film "Porno Melodrama," which is light on the former and moderately heavy on the latter.


Logistical considerations required conducting a recent interview with Zabarauskas over email. The American tradition of doing everything in a half-assed manner requires mostly just pasting the submitted questions and received answers below with minor editing.


1. You “escaped” the repressive culture in Lithuania to attend film schools in Paris and New York; why did you go back?


Think global, act local. As a filmmaker, I need to work with the context I know best, and at least for now it's the Lithuanian one.


It's also not a selfless choice. I feel happy by meaningfully contributing to positive changes here. And despite many challenges, LGBT+ community and culture is getting stronger and more colourful here in Lithuania. It's exciting to be part of it.


2. Can you provide any sense of challenges related to dating a more reticent man in such an oppressive culture considering your activism, your films, and posing for widely circulated nude photos?


My boyfriend accepts me for who I am, so it's all fine. And although our culture is indeed oppressive, I consider us both very privileged – we don't face any danger or abuse, we hold hands in the middle of Vilnius and rarely receive any insults for it. As for my "nudes", ya wish – it was only one photo and not widely circulated, simply sent for the backers of my last film to make the crowdfunding campaign more fun and eye-catching.


3. Your films address the above; to what extent are they auto-biographical?


It would spoil my secrets if I'd tell you which things are real and which aren't. Some of the craziest things in You Can't Escape Lithuania are true, I can tell you this much... And the shooting of this film indeed became surreal when reality and fiction started to mix. But perhaps that's a subject of another movie to make.


4. Your films indicate that your parents strongly support your art; has that enthusiasm waned regarding the controversial and explicit nature of your films?


No, my family stays truly supportive. But do you really think my films are that controversial? Rather tame I would say, by today's standards. At the same time, it's hard for me to imagine a film without some sexual exploration. Filming other people's feelings, thoughts, intimate moments – that's somewhat erotic in itself.


5. Speaking of which, have you had any concrete sense of your films (especially “Porno” and “Escape”) impacting reform in Lithuania? 


I don't consider my films educational or trying to make a straightforward point for tolerance and equality. But they certainly did contribute [to] promoting LGBT+ visibility and culture in Lithuania. Otherwise, I take credit for pushing some famous people to voice their support for the LGBT+ equality, and others – to come out. I do some social initiatives aside from my movies which might have contributed to changing attitudes more directly. For example, a year ago I published a book "Lithuania Comes Out: 99 LGBT+ Stories". That was truly groundbreaking – never before there were so many Lithuanians coming out so openly, and from such different backgrounds.



6. Do you think that a fear of being outed prevents gay politicians in Lithuania from being more supportive of reform? 


Might be! I think that in general most of our politicians are either truly backwards, or pretending to be – in order to be elected. Not much hope here, but it will still change for the better sometime in the future.

7. As a citizen of a repressive country, what do you consider the purpose of Pride? Is it to too show that there are many mainstream gay men and lesbian women who simply want equality and mean straight people no harm or is it an excuse for hairless 18 year-olds to roller skate only wearing Speedos and overweight hairy middle-aged men to parade in dresses? 


Well, I see nothing wrong in people expressing themselves in different ways! For me, the purpose of Pride is to commemorate [the] Stonewall Riots and continue the global campaign for LGBT+ equality. We need to remember our history and keep writing it further.



8. What are you working on, and what does your future hold? 



I'm currently working on my upcoming film The Lawyer. It will only be ready in 2019, so there is not much I can share with you now, but if you're curious – follow our page on Facebook and be the first to know!

Wrap Up

As the above responses demonstrate, Zabarauskas is a bright and committed guy who is committed to the cause and providing inspiration and a voice for his repressed brother. One can be sure that he will be an influence if the Lithuanian government fully joins most of the world in the 21st century.

​"Fine" centers around 30-ish Nate, who is suffering the pains of being on the rough end of a tough break-up with kickball jock Joey. The love-hate relationships among his friends help (and hinder) his navigating these tough times and provide the audience great entertainment.

The shifting narrative begins in the wake of the aforementioned breakup and later establishes that Natey begins when Joey stands up for Nate during an amusing confrontation at a party from Hell. Subsequently entanglements hilariously ensue when Nate encounters Joey and a date in the immediate afternath of a disastrous hook up regarding which many gay man can relate. One lesson regarding that wham-bam-thank-you-sir is that taking one for the team is difficult when your heart is not in the game.

The indications of writer-director Brnadon Kirby being in the head of the viewer are particularly strong in one scene. On arriving at a coffee shop to meet Joey, Nate orders a beverage with extra flavoring only to have the barista repeatedly harangue him; this is on the heels of a similar Starbucks experience in which being challenged about requesting extra peppermint syrup and then being asked if they should add a shot of insulin prompted changing the order (and disliking the drink).

The ensuing events are equally relatable but more pleasant. The adorable young guy in line behind Nate concocts a cute approach and makes a charming sincere expression of a desire to get to know him better. This type of encounter is fairly common during the period that one is young and cute and is especially nice when it leads to a good relationship.

Yet more relatabilty ensues when best friend Jeff confesses his attraction to Nate; suffice it to to say that the impulsiveness of Nate causes this tricky situation to explode in a manner that affects their entire group.

As alluded to above, the importance of productions such as "Fine" and "Chronicles" is that it shows the vast numbers of gay men who lack many reference points that their experiences are typical for men who date men and yearn for sharing a dream home with Mr. Right.

The bigger picture is that folks who are at the hetero end of the Kinsey Scale see that gay men do not connect as easily or as regularly as pop culture often suggests; these breeders further learn that hurt feelings when the one whom you love does not share those feelings and/or moves onto someone else lack sexuality boundaries. The one who got away still is the one who got away.

Anyone with questions or comments regarding "Fine" is encouraged to email me; you also can connect on Twitter via @tvdvdguy.

As the Unreal TV review of the recent tla releasing DVD of the 2016 gay-themed Mark Bessenger film "Confessions" notes, that release roughly coincides with this site learning of the tla DVD release of the 2014 Mark Bessenger film  "The Last Straight Man." "Man" is much more revealing than "Confessions" both visually and in terms of titular breeder boy Cooper meeting up with his boi Lewis once a year for a night of passion. Suffice it to say, ample proof exists that Bessenger knows that of which he films and writes.
"Man" opens with the hotel suite bachelor party for Cooper on the night before his wedding to a woman; Lewis begging off when the stripper offers him a lap dance provides the first clue that he is not like the other boys in attendance.
Things take a stereotypical gay porn turn when Lewis hangs with Mr. Cooper after the party, and the latter prompts the two of them watching gay porn. A game of truth in which the dares come later further bring newly admitted biboy Lewis (who tells a tale that deserves a place in "Confessions") and clearly curious Cooper closer to the climax of the evening.
A good time being held by all leads to our stars meeting in the same suite every year for a night in which the boys catch up, reveal more about each other, and Cooper increases his knowledge of the joys of gay sex. The latter is fully in line with the theory that every man who has sex with another man has a "gay age" that reflect the timing and degree of his experience in that area.  Suffice it to say this time, an off-screen scene in which Lewis guides Cooper through having an enema is one of the most amusing in this highly entertaining film.
Bessenger expertly combines the erotic, the pornographic (suffice it to say that Lewis portrayor Mark Cirillo speaks softly and carries a big stick), the serious, and the silly. Our characters awesomely address this in a scene in which retail store owner Cooper suggests that romance novelist Lewis base a book on their story, and Lewis responds that that plot is better suited to a melodramatic play or a movie.
On a larger level, Bessenger awesomely presents issues of the Kinsey scale of sexuality, the related complicated aspects of feeling love for another man while being far enough at the gay end of that scale to have sex withhim but not far enough to abandon a heterosexual life style to be with him, and denying happiness for what you think is the greater good.
Having characters who are past their doe-eye days further adds substance to this story far beyond it being one in which Lewis lusts after Cooper based on high school showers and Saturday night sleepovers only to have a hairless emo Cooper bring him to Heaven only to later break his heart. Our heroes are big boys in every sense of the word and have spent enough time on the street corner to know the score even if they will not admit it to themselves.
The special features include (what surely are terrific) interviews and deleted scenes.
Anyone with questions or comments regarding "Man" is strongly encouraged to either email me or to connect on Twitter via @tvdvdguy, 

​Foreign gay-themed art-house film division of tla video tla releasing making the 2016 Lithuanian drama "You Can't Escape Lithuania" available on DVD on July 11, 2017 provides North American audiences a chance to see a potential Millennials cult classic. The most meta aspect of this film is that writer/director Romas Zabarauskas has an actor play writer/director Romas Zabaraukas. Additionally, early scenes refer to the fictional Zabarauskas making the real-life film "We Will Riot" by the real Zabarauskas.


The real Zabarauskas goes full-on 21st century in revealing early on that his fictional counterpart bares far more than his soul in a crowdfunding promotion to obtain the money for his latest film; the real Zabarauskas shares that this is a "ripped from the headlines" aspect of the film but does not provide the photos.

The following YouTube clip of the theatrical trailer for "Lithuania" fully conveys the modern sense and sensibility of the film.

​Please note that all future references to Zabarauskas are to the reel one.


Zabarauskas and his visiting Mexican boyfriend Carlos are lounging around the apartment of the former in the titular nation when movie star/friend Indre shows up with literal blood on her hands. The gist of her story is that roughly 10 years of frustration with her mother leads to to Indre accidentally killing her and then fleeing the scene.


The literal exit strategy that Zabarauskas develops is to have him and Carlos assist Indre with an equally literal run for the border so that she can hide out until the heat cools down. Much of the drama regarding this is Carlos objecting to being caught up in the drama.


The filmmaker in Zabarauskas soon comes out in the form of deciding to use the video camera on his smart phone to make an avant-garde movie about their adventure. This does not sit well with Indre, who ultimately gets Zabarauskas to see her side of things.


The manner in which Zabarauskas pursues a fleeing Carlos and persuades him to stay with the group at this early stage is one of the best scenes in "Lithuania."


Insight that is very awesome from the perspective of someone from the era in which the score is kept at sporting events and not everyone goes home with a trophy is the realization of Zabarauskas that his mother has been protecting him from the harsh realities of life at least since high school.


It is less awesome to learn that the father of Zabarauskas shows far more hatred than can be understood on learning that his son likes other boys. This proves that all of us need a loving parent in our life.


A fun scene with gay-porn potential involves Carlos going off to prove that bears are not the only ones who perform a certain bodily function in the woods and Indre temporarily fleeing as a traffic cop approaches to help Zabarauskas change a flat tire. The cop expressing great interest in Zabarauskas and commenting that he knows that this stranded motorist is a gay filmmaker evokes thoughts that one or the other is going to end up bent over the hood of the car with with his hands cuffed behind his back and his pants around his ankles. Learning the extent to which that happens requires watching the film.


At least one encounter during the involvement with the officer has great significance for our trio of outlaws. It further prompts the soul-searching that begins with the symbolism related to Indre killing her mother and Zabarauskas both deciding to actively help her escape and to bring Carlos along for that ride and another.


The drama further heats up when the group stops for the night. Both Zabarauskas and Indre further bare their souls and effectively run off into the sunset in a scene that is far from a Hollywood ending. The scenes after that remove most of the ambiguity regarding that walk into the woods.


Although very few Millennials even accidentally commit matricide (or patricide), they (and many Gen Xers) can see themselves in the folks whose family drama continues haunting them and who discover that they are not as special as believed. The overlying cynical aspect of this is that we end up paying for "it" in one form or another.

The tagline "everyone deserves a chance at finding happiness" for the 2016 gay-themed drama perfectly sums up the theme of this low-key tale of conversion therapy. The March 14, 2017 breaking glass pictures DVD release of the film is must-see for any family struggling with issues related to having a gay teen; it simply is a well-told story for the rest of us.


Seeing Tom "Luke Duke" Wopat as insensitive widowed dad Richard and Gregory "Gonzo" Harrison as religion-based conversion Dr. Gallagher add an '80stastic element to the movie. Dreamy 20-something Michael Grant keeps up with the veterans in his portrayal of James at 19.


The following YouTube clip of the "Fair Haven" trailer highlights the performances and shows how it delivers its message with a light touch.

Wopat and Grant have some of their best moments during the uber-awkward homecoming of James. The walk of shame from the bus to the family truck relates to being fresh out of a long-term stay at a conversion therapy facility. Richard is none too proud of his boy, and James looks as if he is returning from war.


Former piano prodigy James learns on the short ride to the family apple orchard in Vermont that Richard has spent the money set aside for tuition at the acclaimed Berklee School of Music in Boston on the operating expenses of  the orchard that his father started. Richard noting with only a slight edge in his voice that other expenses included the therapy further establishes the dynamics in the Grant family. Another aspect of this subtlety is that several scenes in addition to the homecoming show that the character named Richard can be a total dick.


The aforementioned low-key vibe of the film continues with James being a typical t-shirt and jeans wearing farm boy whose drab bedroom looks like the personal space of an all-American boy-next-door. He is much more Clark Kent than high-school drama club queen. One strongly suspects that our hero has never heard of Ethel Merman or Carol Channing.


Well-placed flashbacks of the therapy provide context for the present-day activity. For example, James soon encountering former boyfriend/fellow t-shirt and jeans guy Charlie triggers a scene in which Gallagher gently asks James if he has been intimate with another man.


The scenes with Gallagher further establish that his kind and gentle approach is to counsel his "patients." He understands the nature of their desires and provides a safe place for them to discuss them and for him to convince them why they are wrong. His idea of success is to substitute homosexual desires with heterosexual ones but does not seem consider with the corresponding damage to the psyche.


Other drama comes in the form of James seeing if the daughter of a preacher man can reach and teach him. Their awkward first date and not much better subsequent interaction shows that James is trying very hard to please his father and society but that his heart is not in it. One also feels sorry for the daughter regarding the ultimate possibility of an unhappy marriage to James, who does not show her much affection and spends most weekends with Charlie under a pretense.


A related issue with its own form of repression is a struggle that many kids from rural backgrounds face. Richard feels strongly that James stay at home and devote his entire life to the orchard, but James desperately wants to be a concert pianist regardless of whether he shares his bed with a man, a woman, or no one.


The symbolism regarding the element of how ya gonna keep 'em on the farm extends to a real-life Oliver and Lisa Douglas yuppie couple who want to buy the orchard to convert it to an organic operation. The response of stubborn and old-world Richard is that apples are already organic because they grow out of the ground; James sees the offer as a way out and recognizes that the times they are a changin'.


Less subtle symbolism exists regarding this tale of sin and temptation being set in an apple orchard.


The subtlety and realism continues to the climatic final scenes. An event that forces every player to come to terms with their new reality changes the lives of each of them. Just as in real life, no one gets everything that he or she wants but achieves adequate happiness to keep going.


This discussion illustrates that, like virtually every breaking DVD release, "Fair Haven" is notable for avoiding most gay film stereotypes. One can easily image a film about conversion therapy to be either high camp or a melodrama and for James and Charlie to be doe-eyed twinks who prance around the orchard in short denim cut-offs and Daisy Duke shirts that are barely buttoned and cinched at the waist. Instead, we get the much more substantive story of a man who has already lost his wife at a relatively young age and has a son who is a good kid but has desires that Dad can neither understand nor accept.


The bushel of breaking extras this time include an in-studio music video of Wopat, 35 minutes of cast interviews that begin with Wopat discussing his childhood on a Midwest farm, and both deleted scenes and a look behind-the scenes.