This list is films with LGBTQI (lesbian, gay, bisexual, transexual, queer and intersex) content that I watched or will watch
They come from all over Eastern Europe: Russia, Romania, Chechnya. They are Eastern boys. The oldest appear no more than 25; as for the youngest, there is no way of telling their age. They hang around the Gare du Nord train station in Paris. They might be prostitutes, but there is no way of knowing for certain. Muller, a discreet man in his late fifties has his eye on one of them - Marek. One afternoon, Muller gathers his courage and speaks to him. The young man agrees to come visit Muller the following day, at his place. However the next day, when the doorbell rings, Muller doesn't have the faintest idea that he has fallen into a trap.
Interesting story, one needed to survive and the other needed sex and someone around...In the end, "everybody" wins.
*This is not just about sex, if you look closer, its more about social problems and having/gaining opportunities in life and also about loneliness...*
An ocean of people shuffle about on their daily business at a train station in urban Paris. Men and women in suits rush off to their routes. Residents of the city chat on their phones as they stroll along, often sidling their way past photo booths, Coca-Cola machines and other human forms as they make their way along their day. Occasionally, someone stands out. He stands aimlessly, loitering with no purpose or sense of direction. A young boy, just barely a man. People of a higher class slow down and look back when they walk past. Maybe they're curious, maybe they're cruising or maybe they're just disgusted.
The first ten minutes of French director Robin Campillo's Eastern Boys is spent…
Repugnant drama about the tender relationship between a man who pays for sex and the boy he hires. At least Pretty Woman pretended to be a fairy tale.
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A john gets more than he bargains for when gives his address out to a fresh faced rent boy in a Paris train station. Lonely Daniel (Olivier Rabourdin) waits anxiously for their appointment but when the kid, Marek (Kirill Emelyanov), shows up he's not alone. In tow is an entire dance party of light fingered Eastern Europeans, led by a magnetically-eyed ringleader known simply as Boss (Daniil Vorobyov). They charismatically fleece the apartment.
Obviously, love still blossoms.
Despite its wild leaps of faith, writer director Robin Campillo's tense psychodramapowerplay works extremely well. Much of its success has to do with the excellent character work and Campillo's ability to meld Europe's current sociopolitical concepts with a bracing, if somewhat tainted, romance.…
Opens with two extended tours de force that derive their power from provocative multitasking: Gare du Nord sequence simultaneously tracks a gang of petty thieves and a cruising expedition, while the following scene, in Daniel's apartment, functions as both robbery and rave, with the victim ultimately surrendering to the beat. (The latter would be my current top choice for Skandies Best Scene, except that it's literally 15 seconds longer than the 20-minute maximum I instituted a while back.) Rest of the film isn't as thrilling, and suffers from some hoary melodrama (plus a last-ditch effort to humanize the villain that's too little too late), but the unexpected evolution of the central relationship—handled with such finesse that it takes a while to realize what's happening—ultimately won me over.
An intergenerational love story told in three parts. Only a French film maker could imbue this content with the urgency it needs by building a relationship driven narrative into a compelling adventure story.
Eastern Boys is interesting but is probably too aloof for its own good.
The pacing and tone is even and observational and the film never rises to the pitch of its own drama and I'm not yet sure if that's a good thing or not.
It felt real if nothing else and I always value that.
This movie made me so uncomfortable. Maybe even on a par with Amour...
A bit from Guy Lodge's review that stuck in my head: "The film’s most arresting turn, however, comes from Vorobyev as the volatile, gym-pumped Boss, whose milky gaze betrays no empathy even as it expertly zeroes in on others’ fears. It’s easy to imagine a compelling alternative version of 'Eastern Boys' that begins with Daniel soliciting him instead, though it’d be a crueller film for it."
YOU CAN'T JUST PITCH AN AU AND NOT WRITE IT, GUY
A hustler-in-peril morality play, underpinned by one of the more ambivalent portrayals of lust and possession I can remember seeing. The startling party scene is emblematic. Daniel seems both alarmed and slightly turned-on at the boldness of his guests' intrusion, his sense of threat running in parallel with his yearning for their company (and more besides).
Interested to read some reviews, including positive ones, expressing disbelief at the characters' predicament; specifically the depiction of erotic desire transfigured into filial concern. Sometimes these comments read as a touch priggish. While it's certainly true that during the course of the film illicit appetite evolves into honourable behaviour, you never quite forget the (in)delicate contingency.
Seems significant that we learn so little about Daniel, the only glimmer of his life outside of these circumstances glimpsed from a distant surveillance shot, used more to mark the passage of time / establish distance than illuminate his character. He’s a blank slate audience surrogate, a symbolic person whose dealings with the pack of wild boys, and Marek/Rouslan in particular, deftly demonstrate the positives and negatives of moving from a passive detachment from the world's ills to an active engagement with them. So he moves from the selfish satisfaction of needs, facilitated via the purchasing of goods, to real emotional connection, albeit one also facilitated by monetary imbalance. A lesser movie might have settled for the protag's dawning awareness…
I opted to skip this movie when it came out several years back. The ad campaign seemed to be selling one of those lame soft-core gay sex movies involving a middle aged man and a teenage refugee sex worker.
A friend I respect urged me to ignore the US marketing and see the film. I did. He was right. The ad campaign was painfully misleading. That's a shame because I'm sure I'm not the only one who decided to skip this one based on the movie's poster alone.
I should have been clued in by the fact that this is a film by Robin Campillo. It also stars the much under-rated French actor, Olivier Rabourdin.
Essentially, this is a…
One of the more baffling first acts of an otherwise decent film. A French businessman (his job is never specified) calmly, helplessly watches as a gang of Eastern European thugs invades his home for an impromptu party before making off with almost all of his belongings, and never once tries to leave or call the cops -- there's an implication that the thugs would tell the police that he tried to solicit a 14-year-old boy for sex, which isn't true and would be their word against his; or, at the very least, tell them that he is gay and tried to pick up a prostitute of (presumably) legal age, which is true, but no actual prostitution took place and, again,…
There's an interesting idea here, but the script and direction just don't know what to do with it. The movie moves at a glacial pace and the viewer stops caring long before the movie ends. As a 90 minute feature of a 45 minute short, there might be something here.
but ok he got everyone deported for him....
There are films that straight people never get to see, or even hear about. Gay folks have to seek them…