jean genet’s ‘un chant d’amour’ for lionel (HAPPY BIRTHDAY LIONEL! xxxo)
Wikipedia: A Song of Love (French: Un chant d’amour) is French writer Jean Genet’s only film, which he directed in 1950. Because of its explicit (though artistically presented) homosexual content, the 26-minute movie was long banned and even disowned by Genet later in his life.
The plot is set in a French prison, where a prison guard takes voyeuristic pleasure in observing the prisoners perform masturbatory sexual acts. In two adjacent cells, there is an older Algerian-looking man and a handsome convict in his twenties. The older man is in love with the younger one, rubbing himself against the wall and sharing his cigarette smoke with his beloved through a straw.
The prison guard, apparently jealous of the prisoner’s relationship, enters the older convict’s cell, beats him, and makes him suck on his gun in an unmistakably sexual fashion. However, the inmate drifts off into a fantasy where he and his object of desire roam the countryside. In the final scene, it becomes clear that the guard’s power is no match for the intensity of attraction between the prisoners, even though their relationship is not consummated.
Genet does not use dialogue in his film, but focuses instead on close-ups of bodies, on faces, armpits, and penises. The film’s highly sexualized atmosphere has been recognized as a formative factor for works such as the films of Andy Warhol.
‘if you want apples you have to shake the tree’ by william selden (via homotography)
HOMOTOGRAPHY: The Summer 2013 ‘The Time Is Now’ issue of i-D magazine features this fantastic story ‘if you want apples you have to shake the tree’, photographed by William Selden and styled by Simon Foxton, with hair by Teiji Utsumi, makeup by Isamaya Ffrench and set design by Gary Card. The featured models include Chuck Achike, Nahel Drici, Jamie Baah-Mensah, Tom Gaskin and Declan-John Geraghty.
it’s all about cutie dale cooper (sorry twinkie mcpluckerson) @ guys in sweatpants…
WATCH THE PREVIEW HERE!
SISSYDUDE LOVES: 30 yr old Tyler Marcum dances with his 20 yr old Self To The Dixie Chicks’ ‘Landslide’
When I was 20 I filmed an interpretive dance to Dixie Chicks’ “Landslide” in my college bedroom – and in my underwear. I turn 30 in a week and couldn’t think of a better homage to my twenties than a sensible mashup.
#I’mGettingOlder2
More Ty: http://about.me/tyler.marcum
SAMUEL & OTHERS: beautiful photos of beautiful men by jean baptiste huong
jean baptiste huong
this is samuel!
Mark Mitchell’s Burial Line (via Grant)
Winner of “Best Interview” at Hot Docs in Toronto.
Short documentary made for the 5 day Documentary Challenge about Mark Mitchell, a costume designer from Seattle, WA.
Mark Mitchell’s burial line will be released this fall 2013
Mark Mitchell from Mike Skoptsov on Vimeo.
even MORE pics of ALEX MINSKY by Gabriel Gastelum (via gdxblog)
Model: [ Alex Minsky ]
Undies: [ N2N Bodywear ]
photos by Gabriel Gastelum (Facebook)
BEARcelona 2013 ! NEW photo series by torres ibarzo
“We have just published the new series we did for bears meeting in a bar in Barcelona last Easter”: torres ibarzo
torres ibarzo on FACEBOOK
Alain Guiraudie’s L’ INCONNU DU LAC ‘ Stranger by the Lake’ (via david.b)
L INCONNU DU LAC (Bande annonce VO FR) from Les Films Du Losange on Vimeo.
CANNES – Nothing I’ve seen at Cannes so far — not even the current Palme d’Or favorite, Hirokazu Kore-eda’s button-cute parenthood drama “Like Father, Like Son” — has, to my ear, pushed the end-credits clap-o-meter quite as far into the red as Alain Guiraudie’s Un Certain Regard entry “Stranger by the Lake.” Elated whoops and whistles greeted this minimalist French thriller’s final fade to black: not the reaction you’d usually expect from a civilian festival crowd for a work of such sleek, stark nihilism as to prompt visions of Robert Bresson adapting Patricia Highsmith. All of which leads me to at least one conclusion: audiences out there are really starved for gay sex.
Yes, “Stranger by the Lake” features more graphic man-on-man action on screen than you can, er, shake a stick at, granting it an immediate festival-world notoriety that will dissipate swiftly as many distributors simply cast it into the “unreleasable” pile. But while some will deem the film barely distinguishable from gay pornography, its surfeit of explicit sex scenes has a function beyond base titillation (though, let it be said, there’s plenty of that too). If many films have put the practicalities and politics of casual sex to more rigorous examination on film in recent years, I either haven’t seen them or napped through a lot of the subtext in “Hitch.”
The setting — from which the film never strays over a timespan of several days, lending proceedings an oddly airy claustrophobia — is a picturesque lakeside cruising ground in rural France, frequented by a small but restlessly circulating crowd of gay regulars and holidaymakers, who turn up on a daily basis for a spot of (in ascending order of importance) swimming, sunbathing and al fresco shagging in the rough woodland behind the beach.
New to the scene is Franck (Pierre Deladonchamps), a handsome twentysomething more in the market for a partner than a sex buddy, but taking his chances in the meantime. His best chance, as he sees it, arrives in the form of Michel (Christophe Paou), an older, mustachioed swimmer on whom Franck becomes inordinately fixated. Michel is immediately flirtatious, though initially beholden to another sex partner; that only further stokes the younger man’s desire, which doesn’t waver even after, one balmy summer evening, he witnesses Michel murdering his mate in broad moonlight.
Franck tells no one what he has seen — least of all Michel himself, with whom he willingly enters a steamy no-strings commitment, built on bareback intercourse and never leaving the confines of the cruising ground. The threat of murder proves a sufficiently powerful aphrodisiac for Franck to pursue a deeper relationship with Michel. Persistently rebuffed, he instead fosters a sexless companionship with chubby, closeted beach patron Henri (an excellent Patrick D’Assumcao), whose suspicions about the psychotic Adonis edge ever closer to the truth — as do those of the police inspector who begins sniffing around when the corpse of Michel’s last victim washes ashore.
This is already far too psychologically cumbersome to qualify as porn: porn noir might be closer to the mark, given how Guiraudie’s stylish thriller framework plays the dangers of rough sex against its oneiric allure. One may choose to see Franck’s outlandish fatal attraction as an allegory for more widespread hazards of homosexuality: if repeatedly hooking up with a known murderer doesn’t kill him, having regular unprotected sex with a known player might do the trick in the long run. Not that Guiraudie and cinematographer Claire Mathon — whose luscious, sun-dappled but eerily remote widescreen compositions plant the entire film in an uncertain Eden — are passing judgement too harshly on these bronzed transgressors, nor those who delight in watching them. Hot and cold and provocative in more than just the expected ways, “Strangers by the Lake” presents even the most dishonest sex as an honest thrill.
HOTARIOUS: sean combs as lord wilcott in downton abbey (i really think he SHOULD be cast in this show)
