Fridae

Gohatto (Japan)

Nagisa Oshima has made a gay film (unlike his Merry Christmas Mr. Lawrence, in which Ryuichi Sakamoto's sexually suppressed Japanese Officer only gets to eat his heart out pining for POW David Bowie), and that's a cause for celebration. The man who brought us the controversial 70s art-porno classic, In the Realm of the Senses, makes a much anticipated come back in this tale of Samurai homoerotic desire, and introduces Asian Cinema's first Homme Fatale, or rather, Garcon Fatale. Kano, a young swordsman with the face of a spooky Japanese porcelain doll, brings death to those who desire him. Trust Oshima to dig up and air this seldom-portrayed facet of Samurai life (historically, homosexuality is viewed by the samurai as the purest expression of masculine love). And like In the Realm, Gohatto's sexuality is more cold and disturbing, than smouldering or titilating, Oshima, at 71, still stares desire at its dark giddy core (like the young New Wave Rebel filmmaker he was in the 60s) and knows that death and desire are entwined like lovers. Gohatto is an enigmatic film experience. And if it is not coming to a film festival in your city, beg your friend visiting Hong Kong to get you a VCD of it.

Boys Don't Cry (US)
Undoubtedly one of the best films of 2000 and probably for many more years to come. Based on the tragic life of Teena Brandon, who lived her adult life as Brandon Teena, Kimberly Peirce's debut film on Midwestern homophobia and redneck grimness is brutal, yet tender; painful in its unrelenting docu-realism, yet sublime in its magic-realistic touches that seem to promise escape from all these. The formidable Hilary Swank inspires reverent awe in her tour-de-force transformation into Brandon Teena. Her Brandon is boyishly sexy, vulnerable, passionate, sometimes flawed, but nonetheless, always heart-felt and true. Chlo� Sevigny, speaking tons with small minimalist touches, brings a transcendental grace to her Lana, Brandon/Teena's lover. Brandon/Teena's rape, and the violent ending (both staring into the cold brutality of human cruelty and hatred) are too painful to watch. But Kimberly Peirce's courage empowers our understanding of human nature, and strengthens our fragile existence.

The Talented Mr Ripley (US)
An almost perfect, intoxicating piece of filmmaking. Anthony Minghella far exceeded his previous melodrama, The English Patient, with this tightly scripted, lavishly shot (by John Seale), lushly scored (by Gabriel Yared), and wonderfully acted thriller about a gay chameleon killer set in intoxicatingly beautiful Italy. Based on Patricia Highsmith's novel set in the 1950s, when homosexuality was still a love that dared not utter its name, Minghella boldly updates it for our time by flashing out Tom Ripley's (Matt Damon) sexuality. Matt shares a bathroom scene with Jude Law thick with erotic tension, and finally comes out of the closet when he finds true love, though not for long...Minghella introduces Ripley as a truly complex gay character impeccably acted by Matt Damon. He is a flawed character who has to lie to hide previous lies, thereby spiralling himself down into the dark core of criminality. But we always understand and feel in a deeply profound way, his pain, yearning, vulnerability, insecurities, and sensitivity. A remarkable gem indeed.

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Iron Ladies (Thailand)
This Thai comedy about the invincible Iron Ladies-- real life gay/cross-dressing volleyball phenomena --was a big hit in Hong Kong last year. These boys, and gals kick ass on the court, against the straight butch boys, mind you. But take away their SK II and H2O, and they are reduced to limped-wrist puss. Empowerment or stereotypes? You decide. However, what truly delights is the comedy's unapologetic gay sensibility. Unabashed drag queens, transexuals, flambayont gay men, and the str8 acting lovelorn gay boys are all comfortable in their own skins. No bitter bitchy attitude here, just big hearts, lots of soul, and barrels of laughter. The saucily dubbed Hong Kong version boast a star-studded voice over cast. Sandra Ng plays the Transsexual with the big heart, Stephen Fung (the lovelorn hustler who wins over Daniel Wu in Bishonen) is the cute boy living the double life, and Ge Ming Hui is the highlight laugh riot. The girls really get to kick ass.

First Loves and Other Pain (Hong Kong)
Simon Chung's critically acclaimed Hong Kong Indie short (clocking at 40 minutes) was slated to be shown at last year's Taiwanese/Hong Kong Film Festival in Singapore but was later withdrawn due to censorship issues. Chung's works have so far been sensitive depictions of young gay men growing up. His previous short Stanley is a quiet love story between an English boy and a Eurasian boy in Hong Kong. First Love is a tragic postcolonial romance between a cynical professor and an adoring Hong Kong student. Chung took it beyond an exploration of the GWM and GAM relationship, and its power play, to a metaphor of post 1997' Hong Kong's relationship with its former Colonial Master. Hong Kong's best gay feature film came from a straight director Wong Kar Wai, in the form of Happy Together, which was banned in Singapore. Now all hopes lie within the queer Indie DV world, Simon Chung is the talent to look out for. (Chinese Title: Xin Hui, Cantonese: Sum Fui)

The Broken Hearts Club (US)
Not quite the gay Big Chill that the film producers would have you believe, but this gay buddy-movie is probably one of the best films on the gay-friends-as-family theme. Walking the fine line of being sensitive and politically correct, the film boasts an array of characters that profile the different facets of the West Hollywood gay experience. Gorgeous Cole (Dean Cain) does what a buff, handsome actor does--charms the pants off every newbie, and merrily moves on as the he-vamp. Meanwhile, photographer Dennis (Timothy Olyphant) examines his life at a crossroads, and wonders if being gay, and pumping up is the meaning of life. Other players: the drama queen, cynical quipster, and newbie--Kevin (Andrew Keegan), one foot out of the closet, still grappling with the 'to be or not to be'. They come together, bicker, fall apart, and eventually find one another again. Greg Berlanti, executive producer of Dawson's Creek, approaches his debut film like the pilot of an adult TV series--melodramatic and bourgeois. The sharp bitch humour, and the overall charismatic performances, however makes the film shine.

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Beau Travail (France)
They don't say if they were gay, but the air sure is thick with desire, sexual tension and jealousy. Bare-chested soldiers practising martial art on the beach, half-naked divers, daggers in hands, swim like fishes -- Claire Denis' film on a group of French legionnaires in Djibouti unfolds like visual poems, or masculine dances on film. Adapted from Herman Merville's story Billy Budd, the story is bare minimal -- a young new soldier, played by the smoulderingly handsome Gr�goire Colin, falls into the Commander's favour, incurring the Sergeant's jealousy and their eventual rivalry. But the gestures and body languages are weighted with dramatic tensions and implications. In a dramatic sequence, the young soldier and Sergeant facing each other, circle on the beach, they look as if they might jump into each other's arms--a passionate sexual embrace, or break into a violent show down. The desire is ambiguous, therefore even more lethal.

Trick (US)
A deliciously simple and sweet film about the incredible adventures of two New York City boys falling in love. Broadway musical writer Gabriel meets handsome nightclub dancer Mark on the subway, they decide to go home together; thus begins their madcap adventure. Their sexual attempts are constantly thwarted; interrupted by a visiting friend and a straight roommate returning too early, sending the horny boys into the night searching for a place. In the process they get into an argument, realizing that they might be falling for each other a little too soon. By daybreak, they still haven't had sex, but leave each other with good feelings, and numbers exchanged. The ending is bound to melt the hearts of believers in love. Kudos to first-time director Jim Fall. God how we jaded city queens needs a love affirming film like this to rain upon us.

Chuck & Buck (US)
Last year's weirdest and most absurd gay comedy. Check out the plot: Buck, a 27-year-old lollipop sucking, toy-car-playing fixated man-child, clings onto his childhood memories of sex games with then best pal Chuck, now a big shot LA record producer. After Chuck rejects his advance, Buck decides to move to LA to stalk him. Meanwhile, he pens a play titled Hank and Frank, based on their friendship, to be staged in a theatre near Chuck's office. In the end, Buck promises to leave Chuck alone on the condition that they have sex one last time...Chuck agrees. Shot on DV, Miguel Arteta's (Star Maps) second feature is one of the most sweetly subversive, and unpredictable queer films of last year. And to add surrealistic twist to the mass of dysfunctions, acting as Buck, is the real life screenwriter of the film, Mike White. Hate it or love it.

But I'm a Cheerleader (US)
If you are a vegetarian like Melissa Etheridge, hug your friends too much, and dislike sucking face with your boyfriend, does that make you a lesbian? "How can I be gay, when I am a cheerleader?" asks role model cheerleader, Megan. Apparently, her parents think so, and are determined to straighten her up. So off to the teenage homosexual rehab-camp Megan goes, where she meets Graham, the institution's baddest I-am-proud-to-be-gay girl. And of course in a subversive twist of fate, they fall in love. Toronto Indie filmmaker, Jamie Babbitt's comedy about gay teens is a candy-coated subversive send-up on gender stereotypes, and society's tyrannical imposition of them. Hot pink for the gals, and baby blue for the guys, and they'd be all right. Babbitt's razor sharp wit and camp sensibility cuts through these Sexual Normalcy Nazi's bullshit and asserts that everyone should be whatever, and desire whosoever he/she pleases. Natasha Lyonne, who shone in Slums of Beverly Hills, is wonderful as Megan; but it is Clea Du Vall, bringing multi-faceted complexities and charm to her Graham that steals the show.