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Showing posts with label gay love stories. Show all posts
Showing posts with label gay love stories. Show all posts

Romance, the closet, China! Raymond Yeung's happy/sad gay love story FRONT COVER opens


What happens when an ace stylist (gay, of course:"All the good ones are," he explains early on) for a major fashion magazine in New York City gets the job of styling a shoot involving a red-hot and very popular Chinese actor who's just a little bit uncomfortable around homosexuals? Given that the movie under consideration is a gay film, you can probably choose among several typical scenarios and come pretty close to correct.

What makes FRONT COVER charming and entertaining, however, is its combination of decent dialog, good performances, deft direction and an insistence, where the home stretch is concerned, on believability over feel-good.

The writer/director here is one, Raymond Yeung, aka Ray Yeung (shown at left), a Hong Kong-based filmmaker with a few earlier films to his credit. His latest explores Asian identity and sexual identity, both East and West versions -- in China (via that popular leading-man actor) and here in the USA (from the POV of our fashion stylist). Neither one, it turns out, is all that comfortable behind the mask that he has created for himself. All of which proves nothing much new, but the way Mr. Yeung handles his tale is appropriate, often fun, and finally surprisingly moving.

In some ways the movie is quite a typical gay film. Our hero, Ryan (Jake Choi, on poster, top) is surrounded by stereotypical characters, from his diva boss at the fashion mag (Sonia Villani, above) to his BFF (played by Jennifer Neala Page, below). Both actresses do what they can with limited and rather obvious material, but fortunately the movie concentrates most of its mind and heart on its two leading men.

These are played by Mr. Choi, as the Asian-American stylist who only has sex with white guys, and James Chen (below) as Ning, the hot young Chinese actor, who is himself constricted by his "image" and constantly surrounded by female hangers-on.

After a rocky start, the two men begin to warm up to each other and an interesting bond is formed. Yeung's style -- via both dialog and visuals -- is mostly graceful and loose, which makes it easy for us to willingly tag along. And the performances of Chen and Choi are lovely, too: funny and smart, with both men uptight in different ways for different reasons.

Ryan's parents (Ming Lee and Elizabeth Sung, above) get into the picture, and while their behavior may seem typical to Asians, for us Americans, they appear just different enough to raise the interest level a notch or two. And if the ensuing relationship between the young men seems initially a little too easy, wait a bit.

Plenty of drama and good/bad possibilities are provided when a photo, above, is surreptitiously taken and released to the media. The outcome may divide audiences between those who demand their feel-good fix and those who prefer some reality with their romance. For me, the finale proved not merely bittersweet but downright sad, lifting the movie out of typical gay rom-com fluff and into something richer and deeper -- out of which a dose of genuine character might even be built.

Front Cover -- from Strand Releasing and running 87 minutes -- is worth a watch. After screening at various GLBT festivals, it opens theatrically this Friday, August 5, in New York City at City Cinema's Village East Cinema, and the following Friday, August 12, in Los Angeles at the the Sundance Sunset Cinema. To see other currently scheduled playdates, with cities and theaters listed, click here and then click on Screenings on the task bar midway down the page.
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FUTURO BEACH: Karim Aïnouz's gay love story and family drama, complete with waves and sand


FUTURO BEACH (Praia do Futuro) is something of a rarity in the gay movie genre: a genuine art film concerned with more than the usual problems of coming out, finding a partner, gay parenting and the like. Instead, it is heavily involved in place, feeling, motion and connection. From Brazil and starring one of the countries most popular actors, Wagner Moura (the Elite Squad films, Elysium), along with German actor Clemens Schick, and, in  the role of the Moura character's brother, Ayrton, newcomer Sávio Ygor Ramos (as the child version) and Jesuíta Barbosa (as the adult). That's it, concerning any important cast members. This is basically a four-hander film -- in fact, more a three-hander, since Ayrton appears first as a child and then as a young man.

The film, co-written (with Felipe Bragança) and directed by Karim Aïnouz (shown at right and best known for Madame Satã), does a lot of things well. The homosexuality here is simply a given: no excuses, no explana-tions. While we get a taste of homophobia (particularly from the brother, but this is more about anger at being left and forgotten), the sex scenes are terrifically handled -- as hot and as believable as you could want. (There is some full-frontal, as well, but nothing approaching hard-core). Visually, the film is often quietly stunning -- with fine widescreen cinema-tography (by Ali Olay Gözkaya) and a lovely sense of space and depth.

What is missing most, however, is enough content to fill the 106-minute running time. Filmmaker Aïnouz is evidently a man of few words, or at least this is what he parcels out to his characters. While this allows for less clunky exposition, it finally makes the movie seem more shallow than I suspect it actually is. The key relationship between Donato (Moura, above, center) and Konrad (Schick, below) comes about due to the sudden drowning of Konrad's best friend and perhaps lover. As grief can sometimes do, it tosses the two men (Donato was the lifeguard who tried to save the drowned friend) into an near-immediate frenzy of sex, and from there into further intimacy.

When Konrad returns to his native Germany, Donato comes to visit, and when Konrad wants something permanent, Donato must face separation from his Brazilian family. All good, so far. But when Donato feigns (or maybe fully feels) his inability to separate, Konrad calls him a coward.

Turns out, the guy is indeed a coward. When the scene shifts, so does the time frame and we're maybe ten years ahead. Aryton (Barbosa, above) is now a young man who has come to Germany to find his brother. Over this huge time period there has been little or no contract by Donato with his family. This is hard enough to believe in itself, given what we've seen previously, and because the filmmaker favors little dialog, we get no specifics about how or why. All of which proves quite a lack.

For all the visual display and occasional poetic verbalizing of feeling (particularly in the film's final moments) we have simply not been given enough detail upon which all this angst can properly hang. (There is a wonderful fight-vs-feeling scene, below, between the brothers when they initially reunite.) Finally, Futuro Beach, as beautiful and "felt" as it is, remains something of skeletal movie, waiting for the filmmaker to fill in a few more of those blank spaces.

From Strand Releasing, the movie opens this Friday, February 27, in New York City at the IFC Center, and in a few more cities over the weeks to come. To see all currently scheduled playdates, with cities and theaters listed, click here and then click on SCREENINGS.
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