Can’t Buy Me Love: “Sauvage/Wild”
“You were made to be loved,” Ahd (Eric Bernard) tells Léo (Félix Maritaud) just a day before he’s about the leave the country, cementing his absence from the same plane of existence as Léo. Long the object of affection for the passive, yearnful, almost puppy-eyed Léo, Ahd is, for the intents and purposes of Sauvage/Wild, directed by Camille Vidal-Naquet an all but explicitly said gay4pay street hustler who has since left the street and traded the unsustainable, unpredictable life cruising for clients on roads outside of Paris for the comfortable living room and gated flat world of being a kept boy, a bourgeois paradise. It’s a trade-off, a transaction, as all sex and love is. But, as much as Ahd is inclined to encourage Léo that he was “made to be loved”, he is, for the bulk of Sauvage/Wild the one loving. Read the rest of this entry »
Start from Hello, Old Friend: In Loving Memory of Julie Klausner’s “Difficult People”
Being one of the two shows I actively make an effort to watch, the cancellation of the brilliant Difficult People is devastating for me.Biting gay men and their equally witty female counterparts, or arguably vice versa, are a shopworn cliche in comedies. But the significance of Difficult People, the Hulu Original created, written, and starring Julie Klausner and starring Billy Eichner, is the show’s ability to flesh out the world to be hyperspecific beyond bon mots. Playing a struggling writer and a struggling actor, the finely observed details of their relationship, in both cruelty and joy, are hard to find in most media. To use “Old Friends” from Stephen Sondheim’s cult flop musical in the season three finale, and the unexpected series’ end, is another example of the deft way in which Klausner could paint mean people as being capable of deep intimacy and love.
S(Car) Tissue: David Cronenberg’s “Crash”
David Cronenberg begins his film Crash, based on the novel by JG Ballard, with perhaps the purest iteration of the meet cute. He has James Spader, as film producer James Ballard, lose control of the wheel and collide directly with another car, that vehicle throwing its male passenger through both the original window and into his car. Remaining in the opposite car is Dr. Helen Remington (Holly Hunter), still strapped in by her seatbelt. While pulling at the seatbelt that has her harnessed in the car, she reveals an exposed treat — that her sports jacket covers only her bare body. The two lock eyes with one another through the shattered front window pane. It’s like love at first sight. Read the rest of this entry »
Angels and Demons: On Andrew Garfield
“What sort of resources did you have in terms of resource for research, or did it all just come during rehearsals?” an audience member asked an actor during a NT Platform panel regarding a six hour long play, reports GayTimes UK.
The actor responded, per GayTimes’ reportage:
“The preparation had begun before (rehearsals began) with a lot of my friends. (The play is) As much devoted to my friends in the gay community as it is those that passed during the epidemic.”
[He] later revealed that a certain drag superstar’s show has helped him find his character: “I mean every single series of RuPaul’s Drag Race. I mean every series.
“My only time off during rehearsals – every Sunday I would have eight friends over and we would just watch Ru. This is my life outside of this play. I am a gay man right now just without the physical act – that’s all.”
The play was Tony Kushner’s Angels in America: A Gay Fantasia on National Themes. The actor was Andrew Garfield. His role as Prior Walter leaves him with the difficult work of playing a gay man living with AIDS and a prophet, whose message to humanity is overwhelming.
This isn’t really a story, more of a quick anecdote about his acting process. But a story was picked up nonetheless, with places like Attitude and Out Magazine decrying the actor’s comments as insensitive, specifically regarding the “I am a gay man right now, just without the physical act” bit. Read the rest of this entry »
My Home Has No Heart: Xavier Dolan’s “It’s Only the End of the World”
A ball bearing drops onto its track, the little sphere rolling smoothly held between metal wires, its path never too crooked, never uneven, never too wide or narrow. Marbles need support, but otherwise, they seem like little else but totems used to set things off in motion, as the grander design of the path reveals the intricate workings of something like a Rube Goldberg Machine. For me, it was a letter, or an invoice, rather, that arrived a year after my father’s death and a few weeks after my first semester in college, on Christmas Eve. Seated in the living room, before the enormous television that acted as the only string that could keep my mother, my sister, and me together in any semblance. The string between the three of us had been taut since his death – a combination of emotional abuse, physical abuse, pathological lying, betrayal, and manipulation had been the things to cause the relationships to unravel without control. I avoided leaving my room whenever I was home, lest any threads deteriorate beyond fixing. But, as always, returning home sent me into a fury and depression. My skin crawled when I knew I had to be at home. My mother and I were rarely not at each other’s throats, a simple question to either of us (“What do you want for dinner?”) enough to send us down a spiraling, dizzying path to a shouting match. This letter was the catalyst, the climax taking place the next morning when my sister placed her hands around my throat and, in an effort to get her off of me, I smashed a coffee cup on her head. Merry Christmas to us.
Being in the midst of an argument with a loved one, a family member especially, is like seeing red. Everything disappears – your sense of space, time, the language you use. They’re either volcanic eruptions, building up, or when a flame touches the sulfur tip of a match: an overwhelming burst, a spectacle.
If Xavier Dolan knows anything, he knows that he likes spectacle. His most recent film, It’s Only the End of the World, returns to family dysfunction on a slightly larger scale; where his previous films concerned two or three characters at most, giving the works a focus and a balance, his newest jumps around between the four family members of Louis, a gay prodigal son returning home after a 12 year absence, with the intent of telling his family that he is dying. He is the ball bearing, the marble, and domino, and yet he is not unaffected by the events that follow his homecoming. He must contend with his younger sister, Suzanne (Lea Seydoux), who always wished to know him; his smothering mother Martine (Nathalie Baye); his petty and volatile older brother Antoine (Vincent Cassel); and Antoine’s perceptive and compassionate wife, Catherine (Marion Cotillard). Before long, madness ensues. Read the rest of this entry »