Mysterious Skin

Defies the essentialism so often found in other films about queerness, trauma, prostitution and pedophilia. Even my attempts to describe it in such loose terms doesn't do Mysterious Skin justice. Araki uses genre as Benning does in Landscape Suicide: to interrogate its possible forms, and question the viewing assumptions that are brought along with each specific mode. I'm definitely interested in seeing more of his work--especially if this is "not as campy" as his usual fare.

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