The gritty, graceful and heartfelt film AND THEN WE DANCED is set in Tblisi, Georgia; but was submitted by Sweden, where writer/director Levan Akin now resides. This film feels intimate and individual, even if the saga of coming out has been “done before.” It’s visually rich, despite environs of struggle and decay. And the film is blessed with incredible performances by many first-timers, including passionate and fearless turns by first-time screen actors Levan Gelbakhiani and Bachi Valishvili in the lead roles. With a cast of mostly newcomers, I place blame squarely on the director for eliciting uniformly convincing performances from the entire cast.
Although homosexuality is no longer outlawed, there is massive intolerance. This is depicted in the film, but was also part of making the film — which was done with great secrecy and often with security guards. Screenings of the film in Georgia were often shut down by protesting mobs, or audiences had to be protected by police.
Set in the world of young dancers at an elite academy where aspirants to national dance companies train, we meet Merab (Levan Gelbakhiani), possessor of a superior dancer’s body and whose face brings to mind Mihail Baryshnikov. He lives with his brother David (also a dancer at the academy), mom and grandmother. He works in a cafe and dutifully contributes what he can to the household. When he brings home leftovers from the cafe, his grandmother scolds him: “They will think we are poor.”
Merab receives instruction from the hard-assed dance director, as well as venerated elder dance judges, that Georgian dance has become a desperate forum for masculine exhibition: no gracefulness, no sensuality, “Be like a nail.” One elder mentions that it used to be graceful, but that was changed 50 years ago — as if the demand for machismo was a safeguard against the rise of homosexuality in the West.
Enter Irakli (Bachi Valishvili), a young man who appears much more mature, until moments of youthful goofing betrays the illusion. With his muscular build, dark good looks, beard line and hairy chest, the newcomer’s masculinity fits what the dance director wants. Irakli is a more seasoned dancer than Merab, who initially resents the newcomer — who immediately captures the interest of the young women in the troupe.
The female dancers function much as a Greek chorus. Their chatter tells the story of a young male dancer who was caught having sex with another boy, beaten, then sent to a monastery. Periodically, they reveal more of that dancer’s fate. In that group is Mary, Merab’s supposed girlfriend, who gauges the mood and temperature of the troupe by the chatter. She is one of the first to warn Merab that he is treading dangerous territory.
When Mary becomes aware of the intrigue between Merab and Irakli, previous gay films would have turned her into a woman scorned or instant ally. Mary’s path is more subtle and emotionally genuine. Actor Ana Javakishvili, in her debut screen performance, is quietly incredible. Writer/director Akin does a wonderful job pulling through a strong central thread of the story. When Merab is spotted leaving a gay club and word gets out among the male dancers, there is an honest feeling of menace in the glee with which they taunt him.
Merab’s final interactions with Mary, his brother David and Irakli set this film apart from its genre and bring closure to one of the most satisfying film experiences I’ve had this year.
AND THEN WE DANCED opens Friday, March 6 at Landmark’s Mayan Theater for one week. Visit www.LandmarkTheatres.com for showtimes.
The feature film Sauvage/Wild, by writer/director Camille Vidal-Naquet is a breakthrough drama telling the story of street-level male sex-workers in France. The story covers expected territory — clubbing, drugs, victimization (on both sides) — but avoids pushy messages and morality decrees that have plagued similar narratives. This story feels personal, not general.
Léo (Félix Maritaud) is an impishly handsome 22-y/o — small frame, wiry build, cute turned-up nose, elfin eyebrows and ears. The actor’s naturalistic delivery is a major driver of this film and doesn’t feel rehearsed or coached. There’s no hesitation, and the action falls forward in ways that don’t feel intentional or planned. Underscoring Léo’s adorable quality is the tendency of other characters to refer to him as “draga,” which translates as “dear.” Félix Maritaud’s performance garnered him the Rising Star Award at Cannes 2018. The young actor also had prominent roles in BPM (2018) and Knife+Heart (2017).
There’s a heart-tugging stray-puppy quality to Léo that begs to be rescued and nurtured. That dynamic carries throughout the film. Despite any debasement he endures, Léo has a tender quality that persists. A great deal of what motivates him is the pursuit of affection and love, even though he doesn’t know what to do when it appears.
Among the most memorable scenes is Léo’s examination by a woman doctor, who is about the age his mother might be. He’s in bad shape, and she asks where he sleeps, when he last slept, drugs, sexual partners, and if he wants to change. Without pause, Léo asks, “Why would I?” Their interaction is tender movie magic. The amount of character definition achieved is vast, and it’s done without sap.
Sauvage/Wild isn’t shy about the abuses and degradation of Léo’s occupation. He seems to accept it as part of a job well-done, but he’s crushed when a client stiffs him. It’s as if nothing that is said or done to him is as degrading as being cheated.
The film is subtle about portraying Léo’s desire for his fellow hustler Ahd (Éric Bernard), a swarthy, brawny lad, who is the closest to a friend that Léo has. Ahd is sometimes protective of Léo and often impatient.
Ahd asks why Léo kisses clients. Léo is naïve and doesn’t quite understand the problem. Ahd points out that if Léo likes it, he’ll never want to stop. Ahd says softly, “You’re made to be loved.”
Ahd is an intriguing and unpredictable character. Gay-for-pay, he doesn’t miss an opportunity to reaffirm his heterosexuality. His connection with Léo feels brotherly in many ways: bonded and easily annoyed.
Writer/director Camille Vidal-Naquet doesn’t define geography of where this film takes place. He also doesn’t create origin stories to tell us how Léo, Ahd and others ended up doing what they do to scrape an existence.
The fates of Vidal-Naquet’s ensemble are as hazy as their backstories. This film is an observational visit, during which Vidal-Naquet achieves an amazing feat: he makes palpable the phenomenal boredom that weighs on street hustlers, but it’s never monotonous for the audience. Sauvage/Wild plays through Thursday, June 6 at Landmark’s Mayan Theater beginning. Visit LandmarkTheaters.com/Denver to confirm dates and showtimes.
Award-winning, timely documentary The Lavender Scare will open theatrically in New York (Cinema Village) and Los Angeles (Laemmle Music Hall) on Friday, June 7, 2019, timed to the 50-year anniversary of Stonewall, with a national release to follow.
With the United States gripped in the panic of the 1950s Cold War, President Dwight D. Eisenhower deemed homosexuals to be “security risks” and vowed to rid the federal government of all employees discovered to be gay or lesbian.
Over the next four decades,the longest witch-hunt in American history, tens of thousands of government workers would lose their jobs for no reason other than their sexual orientation.
But the mass firings have an unintended effect: they stirred outrage in the gay community, helped ignite the gay rights movement, and thrust an unlikely hero into the forefront of the LGBTQ fight for equality.Partly based on the award-winning book by historian David K. Johnson, The Lavender Scare illuminates a little-known chapter of American history, and serves as a timely reminder of the value of vigilance and social action.
Award-winning, timely documentary THE LAVENDER SCARE will open theatrically in New York (Cinema Village) and Los Angeles (Laemmle Music Hall) on Friday, June 7, timed to the 50-year anniversary of Stonewall, with a national release to follow.
With the United States gripped in the panic of the 1950s Cold War, President Dwight D. Eisenhower deemed homosexuals to be “security risks” and vowed to rid the federal government of all employees discovered to be gay or lesbian.
Over the next four decades,the longest witch-hunt in American history, tens of thousands of government workers would lose their jobs for no reason other than their sexual orientation.
But the mass firings have an unintended effect: they stirred outrage in the gay community, helped ignite the gay rights movement, and thrust an unlikely hero into the forefront of the LGBTQ fight for equality.Partly based on the award-winning book by historian David K. Johnson, THE LAVENDER SCARE illuminates a little-known chapter of American history, and serves as a timely reminder of the value of vigilance and social action when civil liberties are under attack.
Director Josh Howard is a producer and broadcast executive with more than 25 years of experience in news and documentary production. He has been honored with 24 Emmy Awards, mostly for his work on the CBS News broadcast 60 Minutes.
As Vice President of Long Form Programming for CNBC, he created a unit that produced a series of award-winning documentaries focusing on American business. The 90-minute film Big Brother, Big Business, which explored the ways in which corporate America works hand-in-hand with the government to collect information about the personal habits of private citizens, won the Emmy Award for Best Documentary on a Business Topic, one of three Emmy Awards he earned for CNBC.
Coming to theaters in March,Giant
Little Onesis a heartfelt and intimate coming-of-age story about
friendship, self-discovery and the power of love without labels. Franky Winter (Josh Wiggins) and Ballas Kohl (Darren Mann) have been best friends since childhood. They are high school royalty: handsome, stars of the swim team and popular with girls. They live a perfect teenage life – until the night of Franky's epic 17th birthday party, when Franky and Ballas are involved in an unexpected incident that changes their lives forever.
In select theaters on November 2, Boy Erased tells the story of Jared, the son of a Baptist pastor in a small American town, who is outed to his parents (Nicole Kidman and Russel Crowe) at age 19.
Jared is faced with an ultimatum: attend a conversion therapy program – or be permanently exiled and shunned by his family, friends, and faith. Boy Erased is the true story of one young man’s struggle to find himself while being forced to question every aspect of his identity.
Experience the passion, tragedy and creative genius of Lee Alexander McQueen in the new trailer from Bleecker Street's documentary McQueen, in theaters July 20th.
Through exclusive interviews with his closest friends and family, recovered archives, exquisite visuals and music, McQueen is an authentic celebration and thrilling portrait of an inspired yet tortured fashion visionary. Directed by Ian Bonhôte and co-directed/written by Peter Ettedgui.
Cartilage Films is leading the revolution with the national theatrical rollout of Bruce LaBruce's The Misandrists.
Following a world premiere at Berlinale and screenings at Karlovy Vary,
Sitges, Raindance London and Guadalajara, legendary provocateur LaBruce
(Gerontophilia, Hustler White) comes to the States with The Misandrists. Balancing
sharp social commentary and salacious popcorn entertainment, LaBruce's
latest feature is an experience that's a blast to watch and just as much
fun to dissect afterwards. The Misandrists will begin its national rollout May 25th with a weeklong run in New York City at the Village East Cinema. The following week, the film will switch coasts for a week's showings in Los Angeles at the Nuart Theatre starting June 1st. LaBruce will introduce screenings at both openings. The Misandrists
will continue to open throughout Pride Month in Washington DC, Austin,
New Orleans, Seattle, Denver, Philadelphia, Cleveland and more.
