Mapplethorpe: This film is lush, hard, beautiful, hard-core, unswerving and honest as was Robert Mapplethorpe. Rarely have I seen a biopic that gets it this right especially about our community (Tom of Finland last year was an equal exception in that it was a beautiful and on point film) and one that does not shy away from the fetishes of Mapplethorpe which is such a critical component of his life and work. The film doesn’t glorify him or put him up for sainthood but rather presents him as the complicated man that he was and presents his art in an equal and unflinching manner. Today, Mapplethorpe’s art still can jangle some nerves but the film captures how sharp that felt in the 1970’s. Beautifully acted and directed in a moving fashion, I can’t recommend this film more highly. The film provokes like the provocateur artist did never shying away from his truth. The best news from Outfest is that the film was picked up for distributorship after its premiere screening (it had two sold-out showings at Outfest) and should be available in the Fall in NY, LA and likely nationwide.
Scotty and the Secret Life of Hollywood: Outfest rarely highlights two documentary films by the same filmmaker in the same year but this year it did and the results of each were astonishing. Matt Tyrnauer made both this film and the one noted below (both NOT TO BE MISSED) and should be congratulated mightily for this feat. Scotty is the true story of Scotty Bowers (who just turned a young 95). Scotty lived a very open life of sexuality and fluidity and helped Hollywood Lesbians and Gays survive the Hays Code and the “rules” of Hollywood in the 40’s, 50’s and 60’s. Scotty is a fascinating subject and an “open book” kind of guy who discusses his sex life matter of factly including his relationships with women and men and sexual favors he provided himself and through a “team” of escorts/hustlers etc who helped a necessarily closeted Hollywood thrive during that era. He tells the truth and he tells the “tell” about some of the closeted (then) Hollywood elite. The stories are amazing, the man even more so. He charms and the audience understands both his genius and his raw honesty. Without giving anything away, my favorite moment in the film is at a book signing, Scotty is “confronted” with a man who challenges Scotty right to open the door of the closet about deceased actors and actresses. Scotty listens politely and then says something to the effect of that there is nothing wrong with being gay so there should be no complaint by the deceased or their families. Truth is told by a man that necessarily had to help hide a truth for those many years of uptight Hollywood. This film is a gem and has just been released in Los Angeles and should play in NY and Nationwide.
Studio 54: Another spectacular documentary by Matt Tyrnauer. Wow. This is, by far, the best presentation of the reality and mystery that was Studio 54. The filmmaker gained access to reams of film from the club and presents the history and snapshot in time that was Studio 54. In the film, the Club is not only the star but a capsule history of the era. The freedom and joy of being on the dancefloor (or in the balcony!) makes the viewer flashback to the Club (if one went) or the era (if one did not). It is a breathtaking visual essay about life in a freer yet more uptight era. The film moves along quickly yet captures so much. If you love clubs, dancing, New York, the 70’s and 80’s, music, lust, sex, drugs, freedom, or being who you want to be, this film is not to be missed. And, if you don’t love all that, you will learn so much in a beautiful and fulfilling manner. This is really the first time that Ian Schrager really opens up on the spectacular time that was Studio 54 and its downfall and that alone makes this film incredibly special. Go back to Studio 54 for one night and you will be mesmerized.
FILMS THAT LINGER:
In addition to the standouts above, I need to recommend three films in particular that moved me and have lingered in my mind post the Festival.
Sodom: More than any other film at Outfest, this one stays with me. I wasn’t sure what to make of it during the first half (other than these were two fine looking men) of the viewing but I am so glad that I saw this film in that I think about it more often than any other from the Festival this year. This film is a two-person piece that is incredibly personal (probably because of the narrow filming in terms of location). It is a film of dialogue, close shots, incredible sexiness and raw and questioning emotion. The film starts with a naked man handcuffed to a lamp post who is taken home by a man who happens upon him. That premise alone should make one want to see this film. The film got distribution on TLA and I recommend it highly.
Reinventing Marvin: This delightful, yet hard, French film transpositions the childhood Marvin (bullied at school and in a different way at home) with a successful adult artist Marvin. I loved the film and after it realized that I want to meet Isabelle Huppert who plays herself in the film—wow she is a wonder. So is the adult Marvin (and so the child) played by Finnegan Oldfield who is a pretty spectacular actor (French, notwithstanding the proper English name). He was captivating and so was the film. The film should be distributed in short order and I recommend it. Beautiful but hard and one I very much enjoyed. Follow Mr. Oldfield on Instagram @OldFinn. He’s made about 40 films and is a standout (if one can stand out next to the sublime Ms. Huppert that says something!)
We the Animals: A tough, unflinching film about children (three brothers) who are coming of age in a hard home. The parents deeply love each other but the hardship of life and need for money bring them to emotional (and physical) blows. The two actors who play the parents are wonderful as are the three actors who were the boys. The film is not easy but it is compelling. The character of the Father is one who is hard not to like and love even with his brute nature and physical threat. It is a very complicated role handled incredibly well by Raul Castillo (Frankie on Looking). This is not an easy-breezy film and it is truly about the emotional makeup of the children but I quite enjoyed it and would recommend it.
FILMS THAT WARRANT SEEING:
I also saw several films at Outfest that I very much enjoyed and/or were transfixed by their plot, emotion, and characters. These are all worth seeing:
Bright Colors and Bold Patterns: A “one man” film of the stage performance of the ages by Drew Doege. For those in LA, we have been blessed by Mr. Doege’s brilliance for the past decade or more. He is burgeoning outwards from Southern California and put together this phenomenal show (directed for the stage by Michael Urie—who knows a thing or two about a “one man” show). This film is about a guy we gays all know and sometimes love. My group and I laughed out loud almost every one of the 85 minutes and the “non-actors” in the piece felt very much alive even though they were inanimate. This piece is a joy and could fix even the most jaded. It has been released on BroadwayHD and I can’t recommend it enough. Not a deep film, nor is it meant to be, but it is truly universal, completely unique, brilliantly acted and downright the most fun I’ve had at the movies this year.
Riot: A completely enjoyable piece about the history behind the Sydney Mardi Gras which presents as an Australian stonewall if one needs a reference point. I very much enjoyed the film and learned a lot that I didn’t know in a pleasant, heartwarming manner. I’d watch the film again. I am not sure about distribution in the US but if it plays, I recommend a watch.
Hard Paint (Tinta Bruja): This is another dark film but one that leaves the audience in a positive frame. Its Brazilian and the lead is captivating albeit brooding and a bit messed up. The lead character connects with people through a sex webcam where he uses neon paint. Another webcammer “steals” his approach and what follows is an emotional connection between the two. The lead has anger issues and emotional baggage which sometimes is hard to watch and to comprehend but the actor handles it with such grace that the difficult to watch becomes captivating. The sex is real and more than most US films but the film is not pretty nor meant to be. Rather, it is a film of emotion and the complications that emotion and uncontrolled variations can bring. I felt alive at the end of the film and that speaks volumes. I am not sure about distribution in the US but if it plays, I recommend a watch.
