From Monday the 15th of November until Monday the 13th of December this thread is going to be dedicated to discussing this year’s special selection of four outstanding LGBTQ films.
The entire program is listed in this ICM-checklist:
https://www.icheckmovies.com/lists/icmf ... am/beavis/
The Main festival hub is this thread:
Please rate the films you've seen on a scale from 1-10 to help contribute to this year's Audience Award.
Queer cinema around the globe continues to blossom, as more and more governments and production companies are recognizing that queer audiences are clamouring to see themselves represented on screen, and queer stories are no longer seen as big risks for actors, directors, or studios. This year's slate features four films from Europe and Latin America: Argentina, France, Ireland, and Mexico.
End of the Century [Fin de siglo] (2019) is an Argentinian tale of two men who meet in Barcelona for a night of passion, only to discover that they may have met in the city before, twenty years earlier (i.e. around the end of the last century). Featuring two actors who play both their younger and older selves (without aging/de-aging gimmicks or makeup), the lines between the real and the imagined, and the past and the present, start to blur. Featuring two strong performances from Argentinian Juan Barberini (as Ocho) and Spaniard Ramón Pujol (as Javi), this mellow romantic drama from director Lucio Castro has a dreamlike quality to it, and may just get you to ask the question "What if...?"
Sorry Angel [Plaire, aimer et courir vite] (2018) is a French drama set in the mid-90s, focused on a May-December romance (really, more of a May-August one) between the younger Arthur (played by former teen star Vincent Lacoste) and older Jacques (Stranger by the Lake's breakout star Pierre Deladonchamps). The action bounces back and forth between Paris and Rennes (in Brittany, northwest France), as the two men figure out their feelings for each other, along with Arthur's maybe-girlfriend, Pierre's delightful young son, and Pierre's sickly friend and neighbour. Christophe Honoré's film was the only film, along with the main slate's Centerpiece, that was seen by all 7 programmers, so whatever you think of this film, you'll find yourself in good company. Tissues not included.
Dating Amber (2020) is an Irish dramedy centered on two queer teenagers trying to survive life in their small town in the mid-90s (imagine them meeting up with Arthur and Pierre on a roadtrip to France). Their solution? Pretend to be dating each other, to mask the fact that Eddie (Handsome Devil's Fionn O'Shea) is gay and the titular Amber (newcomer Lola Petticrew) is a lesbian. The pair get up to a few hi-jinks, including a trip into the big city of Dublin, develop a strong bond, and save up their money to get out of Ireland and move to London, where they imagine life will be better and they won't have to hide in the closet anymore. David Freyne's film is ostensibly about Eddie, following his character throughout, but Amber shines just as brightly in this and is not to be trifled with. The lightest of the four films in this slate, we hope you have fun with it, even if you need the subtitles to understand the Irish accents.
This Is Not Berlin [Esto no es Berlín] (2019) is a Mexican coming-of-age drama set in 1980s Mexico City (thus completing our unintentional retrospective of queers in the past). Carlos (Xaviani Ponce de León) and Gera (José Antonio Toledano) are two upper class teens who are drawn into the punk crowd by Gera's older sister, where they learn about class struggles, sexual liberation, politics, and their own burgeoning sexualities. With full frontal nudity and some loud music, this film can be abrasive at times, but at its core it's a tender drama about two best friends who grow up and discover they may be simultaneously falling in love and growing apart. Hari Sama's film also allows its characters to explore their sexuality on their own terms, instead of having a label imposed upon them from the start, something that may resonate with modern audiences even though the film's setting is from 35 years ago. Plus, if you like Mexican punk music, you'll probably enjoy the soundtrack as well.
Finally, as a kind of appetizer we are offering a short for each of the non-main sections this year!
Magic realism and fantasy have featured a lot in LGBTQ cinema in recent years. They are of course perfectly suitable to address the psychological complexities of transformation, while also offering endless creative possibilities. But when it comes to coming-of-age and bullying (themes also not uncommon in LGBTQ cinema) they also offer up escape and a way of finding your own place in the world. This short little gem showcases all of this.