Directed by Gregg Araki
It all starts and ends with a little league’s pedophile coach and two kids: Neil and Brian, who unbeknownst to their parents are the victims of a sexual predator. But what is the authentic aftermath of this encounter between the man and the 8-year-old children?The repercussions of sexual abuse will affect greatly the lives of Neil and Brian, but in so many different ways that one could almost wonder if they shared the same experience. As a matter of fact, being sexually abused is such a traumatic event for Brian that he blocks it out of his mind unable to cope with the real, and he then proceeds to fill in the memory gaps with a fantasy of alien abduction. Recurring to such self-defense mechanisms is quite a normal psychological strategy, but it also mingles well with a recurring theme in Araki’s cinematography.
Neil, on the other hand, fills in the gashing void with an idealized image of the pedophile. After all, during an entire summer the two of them spend many nights together. Neil actually functions as an accomplice, helping the coach to lure in unsuspecting boys, thus creating a perverse bond between them. Perhaps one of the greatest accomplishes of the novel is to invert the roles, creating a pedophile that seems to be nicer and more caring than the boys’ parents, while at the same time embedding at least one of the victims with an attitude that one would find difficult to sympathize with. Araki’s film, of course, thrives because of that: the complexity between the characters relationships. This is not, after all, a lesson of morality. Here the coach leaves the town, with an untarnished reputation, and leaves behind Neil, a very obsessed boy who admits later that “it's a huge part of me. No one ever made me feel that way before or since [...] I was his one true love”.
Perversion seems to be the one predominant constant throughout Neil’s life, but as Lacan would define it, a perverse individual is the one who assumes the position of the object-instrument of the "will-to-enjoy" (volonté-de-jouissance), which is not his own will but that of the big Other. In this case, Neil accepts to serve as a garish tool of pleasure for the coach, and years later, as a teenage hustler, he has no quandaries when it is his turn to be the instrument of joy of the other (namely his clients). Emotionally detached from everyone, only a girl, a friend from childhood, remains as his one and true humane anchor. His mother, after all, has always been a carefree woman, constantly hooking up with men, and paying no attention to his son; that’s why when Neil is about to depart to New York, she looks at him and utters “my baby, all grown up”, not as a typical motherly affirmation but rather a discovery: time flew by, and she wasn’t there at all.
Brian’s dreams are a reminder that another boy was with him the night of the alien abduction, consequently the insecure boy starts the search for Neil, and learns of his whereabouts just after Neil has left for the big city. It is then that Neil’s friend, Eric, a very flamboyant gay kid, befriends him. Brian is quite a timid and introversive teenager, perhaps as a result of having a very dominant mother and an absent father (even before he abandons the family, he was only there to state how disappointed he was at his son). Eric describes him as "weirdly asexual" (even without knowing how Brian had violently rejected a UFO obsessed woman that intended to caress his penis); indeed, Brian is unable to reclaim sexuality for himself, and after having always lived in a world of his own he finds in Eric’s friendship everything he needs to break out of his shelf.
As a male prostitute, Neil finds the horror of the real in New York, and he will soon realize how dangerous his line of business can get. Back in town, Eric is preparing himself to let go of the one reality that has sustained and nurtured his psyche, but can he embrace the real if Neil tells him exactly what happened that fatidic night?
Araki brilliantly depicts this honest, heart-wrenching and unruly story, taking advantage of the exceptional acting qualities of Joseph Gordon-Levitt (Neil), a daring and talented actor that has worked in many interesting independent films, such as Brick, The Lookout or Latter Days (a gay themed movie). This actor finds in Brady Corbet (Brian) the ideal partner; Corbet creates a subtle but fascinating character, completely different from his roles in Funny Games US or Thirteen, proving not only that he is a great actor but that he also knows how to choose the best directors to work with.
And that's why Mysterious Skin makes it into my top 100 films. I highly recommend it.
And by the way, I'm glad to see that every month my blog gets more visits. Cheers!
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Fiel a los principios de Coherencia, mi rechazo por la candidata a la presidencia prevaleció. Ni siquiera haber perdido casi dos mil dólares en la bolsa de valores de Lima logró disuadirme. Aunque, por supuesto, como decía Fernando De Szyszlo en relación al otro candidato, a ese tampoco le creo.
Así que decidí hacer lo único sensato, o sea contribuir con las arcas fiscales. Con la multa evito la votación, y me ahorro esa sensación horrible de tener que elegir a un mal menor (y honestamente, nunca he tenido la línea Sartriana de Mario Vargas Llosa que le permite hacer justamente eso, elegir una de las dos opciones, a pesar de todo).
Las pérdidas también me han hecho ver que algunos ajustes son necesarios, al menos por ahora. Así, por ejemplo, he cancelado mis tarjetas de crédito, todas menos una. Así que adiós a tarjetas con límites de 5000 soles (como la del BBVA que siempre me sacó de apuros) y cosas por el estilo. Para bien o para mal, este domingo ha sido elegido el próximo mandatario del país.
So I decided to make a list of everything I saw in 2009. As usual, I’ll make a few recommendations which depend entirely on my personal tastes. In no particular order, here are my favorites: Burn after reading (2008), a whimsical story about a retired CIA analyst (John Malkovich) that decides to write his memoirs defying his uptight wife; other characters played by George Clooney and Brad Pitt add depth to an already interesting script, filled with hilarious and intense moments.
Revolutionary Road (2008), a riveting tale that explores marriage, routine and professional life in 1950s America; director Sam Mendes once again manages to deconstruct the American dream while creating a powerful character-driven film. Woody Allen’s Vicky Cristina Barcelona (2008) counts not only with the magnificent performances of Javier Bardem, Penélope Cruz and Scarlett Johansson, but also with an imaginative script that reinvents some of the established neurotic conflicts of Allen’s characters putting them under a new light.
Was I let down by Watchmen (2009)? Yes and no, as a huge fan of Alan Moore and Dave Gibbons original work, I think only a handful of directors could have achieved the level of genius that a reader can find in the graphic novel; however, Snyder’s production is acceptable. Tarantino’s Inglourious Basterds (2009), on the other hand, is pure gold, not only is it original and violent but it also has extraordinary moments. Gus Van Sant’s Milk (2008) is a biopic that focuses on gay rights activist Harvey Milk; this is the kind of story that gets your attention since the very beginning (let’s not forget the roles of James Franco and Emile Hirsch).
Shortbus (2006) explores sexuality in all its facets, and connects the lives of several characters of different sexual orientations that are trying to find some sort of solution to their personal hindrances. The Lookout (2007), starring Joseph Gordon-Levitt, is another example of how this actor chooses his projects so carefully; in this case his character lacks short-term memory, and as a consequence many people consider him a handicapped individual, until a group of bank robbers find in him the ideal accomplice.
The Good Life (2007) is quite a touching story, which relies heavily on melancholy, but not in a cliché way but in a most innovative manner. The Breakfast Club (1985) is a very well-known movie about a group of teenage students that get grounded and have no choice but to interact with each other. Sleuth (2007) has it all: a very compelling argument, and the extraordinary performances of two of the best British actors. Hard Candy (2005) tackles on the delicate subject of pedophilia, and the relationship between a sexual predator and an underage girl, but what happens when the victimary becomes the victim?
Set in a rural environment, The Mudge Boy (2003) presents a young boy coming to terms with his own sexuality; actor Emile Hirsch creates an enticing and complex character that viewers will always remember. The Remains of the Day (1993) lurks into the heart of British aristocracy and household dynamics in 1940s England; here Anthony Hopkins and Emma Thompson are the living embodiment of impossible love. C.R.A.Z.Y. (2005) is a coming of age story, masterfully crafted, and firmly inserted in such defining decades as 60s and 70s; psychedelic drugs, sexual ambiguity and self-discovery are some of the themes here.
Mala Noche (1986) and My Own Private Idaho (1991) are perhaps two of the most interesting Gus Van Sant’s films; both of them have a gay character as the protagonist, but while the first one is a metaphor on marginalization the second one is a reinterpretation of a Shakespeare’s play; both are brilliant productions that deserve our attention. Kubrick’s Lolita (1962) adapts Nabokov’s novel, creating the proper atmosphere for this tale of desire. Chaplin’s The Great Dictator (1940) is another classic that gives us a parody of Germany’s Fuhrer, through humor and intelligence Chaplin reconcile us with the human condition.
Kubrick’s Barry Lyndon (1975) is a major tour de force through England’s past, the nature of war and the ever-elusive essence of man, highly recommendable. Like Minds (2006), analyzes the relationship between two boys that meet in a prestigious private school; what begins as friendship soon turns into perversity; young actor Eddie Redmayne was also the protagonist of Savage Grace, another film in which sexual dissoluteness seemed to be the norm. Rocket Science (2007) is an independent production that puts debate contests under a new light, and more importantly, the love frustrations of a high school boy.
Haneke’s La Pianiste (2001) is a cruel and brutal story about a masochistic woman that lives with her mother; unable to achieve success as a pianist, his professional and sexual frustrations take on a whole new level when she meets an enthusiastic and talented young musician. André Techine’s Les Temoines (2007) starts where most movies would finish, in the first minutes the director summarizes the relationship between an old man and a young boy, and after that each year brings along more and more complications, as France witnesses the ever increasing presence of AIDS in the gay community. Colegas (1982) presents a crude reality: urban marginalization and poverty; in this setting, two boys get in trouble and their need for money forces them to prostitute themselves and to carry drugs to another country. Das Leben der Anderen (2006) trusts in subtlety and character development, as a German playwright is constantly spied by those who deem his work too risky for the government’s ideological goals.
Other films of interest were Stephen Daldry’s The Reader (2008) and Darren Aronofsky’s The Wrestler (2008); Eastwood’s Changeling and Gran Torino, 28 Weeks Later (the sequel of Danny Boyle’s 28 Days Later), December boys, The Curious Case of Benjamin Button, Across the Universe, Slumdog Millionaire, Twelve Monkeys, The Darjeeling Limited, Margot at the Wedding, Woody Allen’s Manhattan Murder Mystery; The Savages, The Believer, Smart People, Fear and Loathing in Las Vegas, The Kite Runner, Atonement, Fifty Pills, Turning Green, Animal Factory, The I Inside, Happy-go-lucky, Juno, Luchino Visconti’s Senso and Hitchcock’s The Birds.
Of course, no listing would be complete without the work of talented and polemic directors such as Gregg Araki’s The Doom Generation (I’ll write a full review on it as soon as I see it again); Gael Morel’s Le Clan focuses on the marginal lives of heterosexual and homosexual youngsters; Clapham Junction digs into Britain’s discrimination towards homosexuality, displaying a wide array of characters, including an older man who is seduced by a young boy; other films of GLBT interest were Shelter, Zerophilia (perhaps one of the funniest productions on transsexual individuals), The Fluffer, Fogi est un salaud and History Boys.
I’ve also seen more popular movies such as Harry Potter and the Half Blood Prince, Stardust, I am Legend, X-Men Origins: Wolverine, Star Trek, Terminator Salvation, Transformers, Transformers: the revenge of the fallen, GI Joe: The Rise of Cobra, Public Enemies. I’ve even seen such productions as Chronicles of Narnia: Prince Caspian, The Spiderwick Chronicles; Bridge to Terabithia, Journey to the Center of the Earth (both starred by Josh Hutcherson).
As usual I’ve also seen plenty of horror movies: The Hills Have Eyes 2, An American Haunting, Insanitarium, The Shadow of the Vampire, The Lair of the White Worm (British production with lots of humor and Hugh Grant in a most peculiar role), One Missed Call, Hannibal Rising, Clive Barker’s The Plague, Wrong Turn, The Mothman Prophecy, Dead Silence, The Lord of Illusions, Prom Night, Rest Stop: Don’t look back (the sequel to Rest Stop, a horror masterpiece), Saw 4, Friday the 13th part 2, Friday the 13th part 3, Tod Browning’s Freaks (1932), a classic horror film, Night of the Living Dead (1990) a remake of the great Romero’s film from the late 60s (the living dead will always be my favorite horror subgenre), House of 1000 corps; Riding the Bullet and Christine (both bases on Stephen King’s books), The Body Snatcher (1945), Resident Evil 3: Extinction, Bloodsucking, Whisper, Breach, The Messengers; and more in the vein of humor, movies like Ghostbusters and Poltergeist. I should also include here documentaries like Unforgettably Evil and Comic Books Unbound.
And now I’ll quickly list the rest of movies I saw in 2009: Disturbia, Blowback, 3:10 to Yuma, American Pie 5: the naked mile, Knowing, Speed Racer (easily one of the worst movies I’ve seen in my life, pure condescending rubbish), The Butterfly Effect 2, Blade Runner, Next, White Squall, 21, Orphan, Silk, The Game, Dazed and Confused, Hancock, Persepolis, The Air I Breathe, Cloverfield, The Invisible (a remake of Den Osynlige), Down in the Valley, Accepted, West, Whiteout, The Treasure of the Sierra Madre, Nicholas Nickleby, Surrogates, Fragile, Elizabeth the Golden Age, Che, La Sconosciuta, Beaute Volee, No se lo digas a nadie (based on Jaime Bayly’s novel), Ladrones, Matador, Lars Von Trier’s Idioterne, El niño pez, Tenebre, Ex Drummer, Cu4tro, Máncora.
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He decidido hacer una lista de todas las películas que vi (o volví a ver) en el 2009. Como siempre, haré algunas recomendaciones que dependen enteramente de mis gustos personales. Así es que, sin ningún orden en particular, aquí van: Burn after reading (2008), una ingeniosa historia sobre un analista de la CIA jubilado (John Malkovich), que decide escribir sus memorias desafiando a su estricta esposa; otros personajes interpretados por George Clooney y Brad Pitt añaden profundidad a un guión ya de por sí interesante, repleto de momentos intensos e hilarantes.
Revolutionary Road (2008) una cautivante historia que explora el matrimonio, la rutina y la vida profesional en la Norteamérica de los años 50; el director Sam Mendes se las arregla una vez más para deconstruir el sueño americano y crear una película en la que son los personajes los que marcan la pauta. Vicky Cristina Barcelona (2008) de Woody Allen cuenta no sólo con las magníficas actuaciones de Javier Bardem, Penélope Cruz y Scarlett Johansson sino también con un imaginativo libreto que reinventa algunos de los conflictos neuróticos establecidos por Allen.
¿Me decepcionó Watchmen (2009)? Sí y no; soy un gran fan del trabajo original de Alan Moore y Dave Gibbons y pienso que sólo un puñado de directores podría haberle hecho justicia a la genial novela gráfica; no obstante, la cinta de Snyder es aceptable. Por otro lado, Inglourious Basterds (2009) de Tarantino es oro puro; original, violenta y con extraordinarias escenas. Milk (2008) de Gus Van Sant narra la biografía de Harvey Milk, un activista que luchó por los derechos de los homosexuales (vale destacar los papeles de James Franco y Emile Hirsch).
Shortbus (2006) explora la sexualidad en todas sus facetas, y conecta la vida de varios personajes de distintas orientaciones sexuales que intentan encontrar una solución a sus dificultades personales. The Lookout (2007), protagonizada por Joseph Gordon-Levitt, es otro ejemplo de los buenos proyectos elegidos por este actor; en esta ocasión, el protagonista de la película no tiene memoria de corto plazo, y como resultado muchos lo consideran un simple discapacitado, hasta que un grupo de asaltantes de banco encuentran en él al cómplice ideal.
The Good Life (2007) es una historia conmovedora, que descansa poéticamente en una clase de melancolía que jamás cae en los clichés. The Breakfast Club (1985) es una popular película sobre un grupo de adolescentes que son castigados y obligados a pasar todo un sábado juntos. Sleuth (2007) lo tiene todo: un argumento sumamente atractivo, y las maravillosas actuaciones de dos de los mejores actores británicos. Hard Candy (2005) toca el delicado tema de la pedofilia, y la relación que establece un pedófilo con una niña, ¿pero qué sucedería si el victimario se convierte en la víctima?
The Mudge Boy (2003) transcurre en un entorno rural, allí un chico debe aceptar su sexualidad a pesar de las burlas y desprecio de quienes lo rodean; el actor Emile Hirsch crea un sugerente y complejo personaje que resulta inolvidable. The Remains of the Day (1993) indaga en el corazón de la aristocracia inglesa y, más concretamente, en las relaciones entre un mayordomo y el resto del personal en una inmensa mansión, Anthony Hopkins y Emma Thompson encarnan a un hombre y una mujer que encuentran en el amor un reto imposible. C.R.A.Z.Y. (2005) es una historia centrada en las turbulentas décadas del 60 y 70, no solamente es un repaso por la vida del protagonista, sino una aproximación honesta a la psicodelia, la ambigüedad sexual y el auto descubrimiento.
Mala Noche (1986) y My Own Private Idaho (1991) son dos de las más interesantes películas de Gus Van Sant; en ambas el protagonista es un joven homosexual, pero mientras que la primera es una metáfora sobre la marginalidad, la segunda es una reinterpretación de una obra de Shakespeare; ambas son producciones brillantes que merecen nuestra atención. Lolita (1962) de Kubrick es una adaptación de la novela de Nabokov, el cineasta crea una atmósfera única para este relato sobre el deseo. The Great Dictator (1940) de Chaplin es otro clásico que nos ofrece una reflexión sobre las dictaduras; mediante el humor y la inteligencia Chaplin nos reconcilia con la condición humana.
Barry Lyndon (1975) de Kubrick resume el pasado de Inglaterra, la naturaleza de la guerra y la siempre elusiva esencia del ser humano, sumamente recomendable. Like Minds (2006) analiza la relación entre dos alumnos de una prestigiosa escuela privada; lo que empieza como una simple amistad se convertirá en algo perverso; el joven actor Eddie Redmayne protagonizaría después Savage Grace, en donde la aberración sexual es un tema recurrente. Rocket Science (2007) es una producción independiente que explora los debates escolares bajo una nueva luz y, sobre todo, las frustraciones amorosas de un alumno de secundaria.
La Pianiste (2001) de Haneke es una historia cruel y brutal sobre una mujer masoquista que vive con su madre; incapaz de alcanzar el éxito como pianista, sus frustraciones profesionales y sexuales alcanzan un nuevo nivel cuando conoce a un entusiasta y talentoso pianista mucho más joven que ella. Les Temoines (2007) de André Techine empieza donde la mayoría de las películas acaba; en los primero minutos el director sintetiza la relación sentimental entre un joven y un viejo, y luego investiga lo que sucede año tras año en Francia, en la década en la que el SIDA empieza a causar estragos en la comunidad gay. Colegas (1982), presenta una cruda realidad en donde imperan la marginalidad urbana y la pobreza; en este escenario, dos adolescentes deberán prostituirse y meterse en el mundo del tráfico de drogas para conseguir dinero. Das Leben der Anderen (2006) confía en la sutileza y en el desarrollo de sus personajes; un dramaturgo alemán es espiado constantemente por aquellos que consideran que su obra puede atentar contra la ideología del régimen.
Otras películas de interés fueron The Reader (2008) de Stephen Daldry y The Wrestler (2008) de Darren Aronofsky; Changeling y Gran Torino de Eastwood, 28 Weeks Later (la secuela de 28 Days Later de Danny Boyle), December boys, The Curious Case of Benjamin Button, Across the Universe, Slumdog Millionaire, Twelve Monkeys, The Darjeeling Limited, Margot at the Wedding, Manhattan Murder Mystery de Woody Allen; The Savages, The Believer, Smart People, Fear and Loathing in Las Vegas, The Kite Runner, Atonement, Fifty Pills, Turning Green, Animal Factory, The I Inside, Happy-go-lucky, Juno, Senso de Luchino Visconti y The Birds de Hitchcock.
Por supuesto, ningún listado estaría completo sin el trabajo de directores talentosos y polémicos como Gregg Araki y su película The Doom Generation (pienso escribir una reseña a penas la vea de nuevo); Le Clan de Gael Morel se centra en las vidas marginales de jóvenes heterosexuales y homosexuales; Clapham Junction hurga en las vidas de varios personajes homosexuales que enfrentan la discriminación en Inglaterra, incluyendo un hombre mayor que es seducido por un menor de edad; otras películas de interés GLBT serían Shelter, Zerophilia (tal vez una de las más divertidas propuestas sobre transexualidad), The Fluffer, Fogi est un salaud y History Boys.
También he visto películas más populares como Harry Potter and the Half Blood Prince, Stardust, I am Legend, X-Men Origins: Wolverine, Star Trek, Terminator Salvation, Transformers, Transformers: the revenge of the fallen, GI Joe: The Rise of Cobra, Public Enemies. Incluso he visto producciones como Chronicles of Narnia: Prince Caspian, The Spiderwick Chronicles; Bridge to Terabithia, Journey to the Center of the Earth (ambas protagonizadas por Josh Hutcherson).
Como siempre dediqué una gran parte de mi tiempo a las películas de terror (y temas afines): The Hills Have Eyes 2, An American Haunting, Insanitarium, The Shadow of the Vampire, The Lair of the White Worm (producción británica llena de humor, en la que Hugh Grant tiene un rol más que peculiar), One Missed Call, Hannibal Rising, Clive Barker’s The Plague, Wrong Turn, The Mothman Prophecy, Dead Silence, The Lord of Illusions, Prom Night, Rest Stop: Don’t look back (la secuela de Rest Stop, una obra maestra del terror), Saw 4, Friday the 13th part 2, Friday the 13th part 3, Freaks (1932) de Tod Browning, un clásico del terror, Night of the Living Dead (1990) un remake del genial film de Romero de fines de los 60s (los muertos vivientes siempre serán para mí el mejor subgénero de terror), House of 1000 corps; Riding the Bullet and Christine (ambas basadas en libros de Stephen King), The Body Snatcher (1945), Resident Evil 3: Extinction, Bloodsucking, Whisper, Breach, The Messengers; y más en la vena del humor películas como Ghostbusters y Poltergeist. También debería incluir aquí documentales como Unforgettably Evil y Comic Books Unbound.
Y ya para terminar, las otras películas que vi el 2009 fueron Disturbia, Blowback, 3:10 to Yuma, American Pie 5: the naked mile, Knowing, Speed Racer (sencillamente una de las peores películas que he visto en mi vida, un montón de basura condescendiente), The Butterfly Effect 2, Blade Runner, Next, White Squall, 21, Orphan, Silk, The Game, Dazed and Confused, Hancock, Persepolis, The Air I Breathe, Cloverfield, The Invisible (un remake de Den Osynlige), Down in the Valley, Accepted, West, Whiteout, The Treasure of the Sierra Madre, Nicholas Nickleby, Surrogates, Fragile, Elizabeth the Golden Age, Che, La Sconosciuta, Beaute Volee, No se lo digas a nadie (basada en la novela de Jaime Bayly), Ladrones, Matador, Idioterne de Lars Von Trier, El niño pez, Tenebre, Ex Drummer, Cu4tro y Máncora.
March is now over but I did manage to watch one film every day, which is something that I probably won’t be able to do next month, unless I include more short films. I had the opportunity to watch or re-watch classics such as Hitchcock’s Rear Window (1954), Cat on a Hot Tin Roof (1958) and Victim (1961), a brave production and a most controversial film in a difficult time, tackling an aspect of British law that would condemn homosexuals to be locked behind bars. To read a complete review on the latter please check the following IMDB link: http://www.imdb.com/title/tt0055597/usercomments?start=30
Other movies of interest were The Age of Innocence (1993), The Witches of Eastwick (1987), The Hanging Garden (1997) and Prick up Your Ears (1987) a British production based on the life of playwright Joe Orton and his neurotic relationship with an older man.
Now, in the international front we have interesting short-films such as Serene Hunter (2007) and VGL Hung (2007); and also films like Apo tin akri tis polis (1998), from Greece, that try to define nationality and sexuality. To read a complete review on it please check the following IMDB link http://www.imdb.com/title/tt0181547/usercomments?start=10 however a movie like Skin Gang (1999) was a disappointment.
To choose French films this month I decided to focus on Stéphane Rideau a young actor that has worked with great directors, in several films including Les Roseaux Sauvages (1994), a riveting take on sexuality, war, desire and self-discovery (http://www.imdb.com/title/tt0111019/usercomments?start=10); À toute vitesse (1996), a story of a bisexual writer that seems to profit from gay outcasts (http://www.imdb.com/title/tt0118230/usercomments) ; Presque Rien (2000), a story that analyzes the nature of teenage desire and homosexuality (http://www.imdb.com/title/tt0242795/usercomments?start=20).
Other French films of interest were Comme un frère (2005), which deals with narcissism, sexuality and self-discovery (http://www.imdb.com/title/tt0470715/usercomments) and Juste un peu de réconfort (2004), about how to chase the object of our desire (http://www.imdb.com/title/tt0404165/usercomments).
And to finish with the international section I also watched Sugar (2004), a Canadian production inspired by Bruce La Bruce's short stories about a world of male prostitution, heavy drugs and depravation starred by Andre Noble and Brendan Fehr one of the protagonists of the late 90s series Roswell (http://www.imdb.com/title/tt0374252/usercomments?start=10); 2:37 (2006), an Australian film that deals with teenage suicide clearly influenced by Gus Van Sant; Tan Lines (2007) is also an Australian coming-of-age story, that deals with homosexuality in teenagers but done in such a way that it becomes fascinating from the very beginning. 50 ways of saying fabulous (2005) from New Zealand takes on teenage confusion and gender roles (http://www.imdb.com/title/tt0429482/usercomments).
Getting back to American cinema, we have appealing films such as The Imaginarium of Doctor Parnassus (2009) and Dear John (2010). However, my passion for horror films forces me to emphasize other works such as Jennifer’s Body (2009), with lots of supernatural elements but also extraordinary incursions into humor, recommended if only for fans of Megan Fox and hellish creatures. I spit on your grave (2010) is a remake of a suspense story from the 70s, graphic and violent it sure deserves the attention of gore fans. Nevertheless, the best horror film I’ve seen this month is The Signal (2007), a film divided in three parts, directed by three talented filmmakers, each part has a different tone, black humor and suspense mingle perfectly in this highly recommended production.
Although if I had to choose my favorite films of the month I’d probably go with two: the first one would be Charlie Bartlett (2007), starring Anton Yelchin, a young actor that has succeeded in blockbusters such as Star Trek and Terminator Salvation, but that has also acted in independent films like Alpha Dog or series like HBO’s Taken; and other important works like Hearts in Atlantis with Anthony Hopkins. I highly recommend Charlie Bartlett. Do yourself a favor and watch it. And the second one would be Imaginary Heroes (2004), a remarkable story of a gay kid coming to terms with his own sexuality, interpreted by Emile Hirsch, another young actor with very noticeable and relevant roles in other films, definitely recommended too. Latter Days (2003) also includes one of my favorite young actors: Joseph Gordon-Levitt, subtly but firmly it analyzes the daily life of a Mormon teenager that is forced to deny his true sexuality until he meets a boy that exemplifies most of the clichés associated to gay people.
And at last but not least, Winter’s Bone (2010) is an independent American film that shows the dark side and misery of the US without being too preachy about it. I would say that The Fighter (2010) is in the same line, as it presents the reality of an impoverished American town and the ambitions of a boxer that seems doomed to failure. 127 Hours (2010) may not be my favorite Danny Boyle’s work but it has strong and intense moments, and the magnificent performance of James Franco. Invictus (2009) is a good Eastwood film. Unknown (2011) is quite an entertaining thriller that proves the ability of Catalan director Jaume Collat-Serra.
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Terminó el mes de marzo, pero esta vez me las arreglé para ver una película por día. Quizá no logre mantener el ritmo en abril, a menos que incluya más cortometrajes, pero en todo caso en marzo pude ver (o volver a ver) clásicos como Rear Window (1954) de Hitchcock, Cat on a Hot Tin Roof (1958) y Victim (1961) una producción sumamente atrevida para la época, en donde se critica la legislación inglesa que en ese entonces condenaba a los homosexuales a ir a prisión. Para una reseña más detallada lean mi comentario en http://www.imdb.com/title/tt0055597/usercomments?start=30
Otras películas que me llamaron la atención fueron The Age of Innocence (1993), The Witches of Eastwick (1987), The Hanging Garden (1997) y Prick up Your Ears (1987), una adaptación inglesa de la vida del dramaturgo Joe Orton y su neurótica relación con un hombre mayor.
En el frente internacional vi dos buenos cortometrajes Serene Hunter (2007) and VGL Hung (2007); y también películas como Apo tin akri tis polis (1998), de Grecia, en donde la nacionalidad y la sexualidad son redefinidas (http://www.imdb.com/title/tt0181547/usercomments?start=10), lástima que vi también Skin Gang (1999) simplemente decepcionante.
A la hora de elegir películas francesas me concentré en el joven actor Stéphane Rideau que ha trabajado con talentosos directores en películas como Les Roseaux Sauvages (1994), una original interpretación sobre el deseo, la sexualidad y la guerra (http://www.imdb.com/title/tt0111019/usercomments?start=10); À toute vitesse (1996), relata el éxito de un escritor bisexual que aparentemente se aprovecha de gays marginados (http://www.imdb.com/title/tt0118230/usercomments); Presque Rien (2000) indaga sobre el deseo y la homosexualidad en dos adolescentes que se conocen durante el verano (http://www.imdb.com/title/tt0242795/usercomments?start=20).
Otras películas francesas que pude ver fueron Comme un frère (2005) que encuentra una relación entre narcisismo y sexualidad (http://www.imdb.com/title/tt0470715/usercomments) y Juste un peu de réconfort (2004) sobre el significado del objeto de deseo y cómo perseguirlo (http://www.imdb.com/title/tt0404165/usercomments).
Y para acabar con la sección internacional, vi Sugar (2004) una producción canadiense insertada en un mundo de prostitución masculina, drogas duras y deprevación (http://www.imdb.com/title/tt0374252/usercomments?start=10). 2:37 (2006), es una película australiana que aborda el tema del suicidio juvenil, con influencias de Gus Van Sant. Tan Lines (2007), también de Australia, narra la historia de amor entre dos adolescentes homosexuales de una manera tan original y fresca que uno se engancha desde la primera escena. 50 ways of saying fabulous (2005) de Nueva Zelanda es un magnífico trabajo sobre adolescentes confundidos y roles de género invertidos (http://www.imdb.com/title/tt0429482/usercomments).
Regresando a la cinematografía norteamericana vi interesantes películas como The Imaginarium of Doctor Parnassus (2009) y Dear John (2010). Sin embargo, mi pasión por el cine de horror me fuerza a hacer énfasis en Jennifer’s Body (2009) con seres sobrenaturales y Megan Fox en un papel que se adapta muy bien al humor. I spit on your grave (2010) es un remake de una cinta de suspenso de los 70s, ideal para todos los fans del gore. No obstante, la mejor película de terror del mes es The Signal (2007) dirigida por tres cineastas, dividida en tres partes, cada una con un tono particular, suspenso puro, humor negro, etc., realmente recomendable.
Claro que si tuviera que elegir lo mejor del mes ya tengo dos candidatos: Charlie Bartlett (2007) protagonizada por Anton Yelchin, un joven actor que ha tenido éxito en Star Trek o Terminator Salvation, pero que también ha participado en cine independiente (Alpha Dog) o en series de HBO como Taken, así como otros trabajos importantes como Hearts in Atlantis con Anthony Hopkins, si pueden encontrarla, véanla. La otra alternativa sería Imaginary Heroes (2004) con Emile Hirsch, otro joven actor que escoge muy bien sus proyectos, en este caso interpreta a un chico que debe aprender a aceptar su propia sexualidad. Recomendable. Latter Days (2003) incluye a otro de mis actores predilectos Joseph Gordon-Levitt, esta película se enfoca en un joven mormón que se ve obligado a negar su verdadera opción sexual.
Y ya para terminar, también vi Winter’s Bone (2010) un gran ejemplo del cine independiente norteamericano, en la misma vena también se encontraría The Fighter (2010). Otras películas que me gustaron fueron 127 Hours (2010), Invictus (2009) y Unknown (2011).
Como siempre los invito a votar por mis reseñas en IMDB. Adelante.
