“All the sun in the world” tells the story of Pablo and Mauro, who meet each other while clubbing. They stare at each other, they like each other, they leave together… They think that, yeah, may the lucky times begin… We’ll witness their first eye contact, their first smiles, first kiss…
But at the same time we will watch the “video-diary” that one sends to the other after a long time… Even if its pointless. Or maybe because things have to come to an end.

Steel will be screened at the Classic Gateway Theatre in Fort Lauderdale on Sunday, October 11 at 9:45 p.m. A Canadian production filmed on location in Winnipeg, Manitoba, this film will make its United States debut at MiFo Fort Lauderdale.

Driven, determined and detached from his own feelings, the irresistibly sexy TV journalist Daniel Krueger (Chad Connell) is the host of a very popular celebrity-driven pop culture show, which enjoys high ratings and lots of success.

On the inside, however, Daniel is dealing with so much inner torment, and he is afraid to deal with an ominous past event that threatens to tear apart his life as he knows it. Hiding away from the world, his producer, Barb (Tamara Gorski), is forced to give his program to a rival, and he can’t get it back until he resolves his emotional issues.

He meets a young nineteen-year-old boy, Alexander (David Cameron), at the bar and the two develop a passionate relationship. Alexander is carefree and happy — emotions Daniel hasn’t felt in a long time. While the two initially clash over their age difference, the audience learns that it’s Daniel’s fear of letting go that is the major roadblock. Once Daniel lets Alexander into his life and into his heart, we learn that Daniel’s parents died in a car accident — scared that he would grow up to be gay, his father insisted on taking him to a doctor. Daniel has to force himself to accept that the car accident was not his fault before he can pick up the pieces of his career.

The premise is a familiar one that we’ve seen in romantic comedies about straight couples. Two best friends make a pact that if they are still single in ten years, they will try to settle down together, even though they don’t seem especially compatible. Myles (Jack Turner) is a lawyer and a hopeless romantic who dreams of cooking dinner for Mr. Right. Brody (Michael Adam Hamilton) is a cop who revels in one-night stands. Cut to nine years and eleven months later. As the deadline approaches, they try desperately to avoid the commitment they promised rather cavalierly.
Writer-director J.C. Calciano is obviously hoping to craft a gay variation on a classic romantic comedy. But where is Philip Barry when you need him? Today’s writers, gay or straight, fail to match the sparkling, witty dialogue that seemed to flow effortlessly from the pens of many writers in past decades. Plot complications also seem to confound the filmmaker. There’s the potential for humor when Myles and Brody both end up dating the same guy (Adam Bucci), but the explosive comic climax that we anticipate never materializes.

Supporting characters also stir memories of vintage romantic comedies. Myles’ law partner (Teri Reeves) is the kind of salty but supportive pal who’s been in dozens of other movies, but she needs better wisecracks. The best character is Brody’s straight partner on the police force, who’s surprisingly tolerant and even insightful about gay relationships.

Moronai Kanekoa, who plays the straight cop, also gives the best performance in the movie. The two leads are photogenic but not really charismatic. Hamilton has a winning smile, and Turner looks good in his skivvies, yet they struggle to bring any panache to their quips.

This earlier work from the pen of One on One writer and director Luis Fernando Midence offers a timely reminder that some men are straight, some are gay and some are just, bisexual. A state of sexual affairs that Danny and Kate are set to discover when the love of their life Anthony finally outs his bisexual self, courtesy of a slip of the tongue and an ill-timed ‘phone call.

Only this is a far more complicated issue that your standard cheating boyfriend scenario, as here the issue of bisexuality as a sexuality in itself, takes centre stage. In doing so, this Miami University piece from director Justine Stokes opens up a can of Kinsey scale worms and in particular the concept of whether you can emotionally and physically connect with two people, of differing sexualities, at the same time? And it is that notion of genuine love, as against an affair that dominates this piece, even if it is hard to have any sympathy for a man who and in spite of his protestations of a love devoted, is more than happy to lie his way through life, playing one party off, against the other.

Clearly made within the restrictions of a student budget and delivered cross-cut style, so as to illustrate the almost simultaneous reactions of all parties to the reality of the sexual state of play, here the Stokes / Midence duo leave you with the adage that honesty is the best policy, given sexual home truths are seemingly always destined to come out; certainly in the movies. Need more be said?

Source: Gaycelluloid.com

Aaron is a bachelor living a stereotypical life with a decent earning. He works in a bank, managing people’s finances, but he has trouble to manage his own life in late 20’s. Whenever he finds a minute of privacy in his day, he hastily delves into his own fabricated reality: a world of excessive sex, pornography, and masturbation. However, this is a manifestation of his feelings of intense lack of connection (Anorexia-Avoidance), and the loneliness around him.
One day Aaron meets a new neighbor and establishes a connection. This moment lights a spark inside that grows, opening a door to achieve the emotional and physical satisfaction he was longing.
Is Aaron ready to give up his comfort zone?
“Authentic” is a portrait of a person desperately trying to find meaning in the compulsive pursuit of climax. In his quest for satisfaction he either doesn’t see his real desires or ignores it deliberately?

The series deals with Leopold (Age 17) who does not want to identify himself through his sexuality, with Noah (Age 24) who’s BDSM fetish challenges his boyfriend, Jan (Age 20), a nurse, who’s biggest dream is to study medicine. Moreover, promiscuous Marcel (Age 21) who works as a banker and has to live with his HIV infection. Last but not least, Lukas (Age 19) who moves from the country to the big city to get away from his parent’s control. The stories of these five men become intertwined and what results is a story that encapsulates what it means to be a young gay man in a big city.?

Claudio Marcone’s debut feature is a measured, tenderly played study of imprecise sexual identity.

Often treated in film as an adjunct to LGBT experience, bisexuality gets measured, sensitive consideration in the Chilean coming-out drama “In the Grayscale.” A gentle boy-meets-boy romance that builds into a balanced ideological debate between its two lovers — one a gay man for whom homosexuality is a black-or-white concept, the other choosing to remain, as the title implies, undefined — Claudio Marcone’s freshman feature breaks few formal or narrative boundaries, but makes its personal and political points with quiet clarity. A crackling erotic charge, meanwhile, counters the pic’s otherwise reserved approach, giving “Grayscale” a bright future on the gay fest circuit following its Miami Film Festival premiere.

From its whispery tone — often belying the pointed things being said — to the soft, sunlit textures of Andres Jordan’s lensing, Marcone’s film appears to take its cue from Andrew Haigh’s “Weekend,” another film that found delicate dramatic friction in the contrasting temperaments of two men in love. Opposition is largely internal in Beppe Norrero’s lean, understated screenplay, as heterosexually married protagonist Bruno (Francisco Celhay) discovers that bending his sexual and social identity is easier — to a point — than he might hitherto have imagined. The Chile depicted by Marcone and Jordan is certainly a more hopeful place than, say, the despairing, abuse-scarred country inhabited by their compatriot Pablo Larrain; none-too-subtle symbols of impending union and rebuilding abound in their portrait of modern-day Santiago, as human lives remain under construction.

At 35, Bruno outwardly appears more settled than he feels: A successful freelance architect, he is married to his girlfriend of 11 years, Soledad (Daniela Ramirez), and a dedicated father to their smart, inquisitive son, Daniel (Matias Torres). It emerges, however, that the marriage has been on fragile ground from the start, with both spouses having stepped back from it at different points. The pic’s wordless opening tracks Bruno’s lonely domestic routine in the studio he occupies following a recent separation. While Soledad chides him for referring to marriage in transitional terms, that’s not strictly true: As with his under-explored sexuality, he appears content to hover indefinitely between defining statuses.

That resistance to resolution is tested when a high-end professional commission — to design a new city monument for the capital — brings him into contact with gregarious history teacher Fer (Emilio Edwards), a comfortably out gay man with who swiftly senses the curiosity behind Bruno’s impassive facade. Though their rapport is immediate, Marcone patiently teases out the expression (or rather the self-admission) of the architect’s desire; thanks to Felipe Galvez’s spare, thoughtful editing, every cut to Bruno alone in his bedroom following a platonic date with Fer feels like a rebuff to the audience’s own wishes. When they do finally kiss, interestingly, Marcone keeps the moment offscreen, only tipping viewers off to this development in retrospect. Following this calculated omission, the relationship’s immediate past is kept as uncertain as its future, mirroring the protag’s own present-tense mindset.

That, understandably, is a source of frustration to the more demonstrative Fer, who insists that Bruno is withholding his true identity — even after Soledad, Daniel and Bruno’s open-minded grandfather (Sergio Hernandez) learn of his indiscretions, with not-wholly-expected consequences. Bruno, however, is less convinced that this period of sexual experimentation has a finite conclusion, even as his feelings for Fer deepen; neither the script nor Marcone’s compassionate but composed direction offer judgment or instruction either way. The two terrific leads play the push-pull-retreat dynamic of this tender but tenuous relationship with intelligence and an intuitive sense of physical connection. Celhay, meanwhile, beautifully plays Bruno’s emotional diffidence against his more confidently strapping exterior.

More than a picturesque, mood-serving backdrop — flatteringly served by Jordan — Santiago itself emerges as a key player in this relationship study, as even the lovers’ differing responses to their surroundings (and their post-colonial national identity) portend emotional impasses in their affair. Bruno’s creative blockage over his commission, meanwhile, speaks volumes about his opposition to defining gestures and expressions. As he slowly arrives at a solution, Marcone slightly overworks the symbolic properties of bridges and rivers, but the larger social subtext is nonetheless affecting.

Source: Variety.com

Last year, we told you about the sketch comedy show turned web series Go-Go Boy Interrupted created by actor/writer Jimmy Fowlie that follows a West Hollywood go-go boy who finds himself aged out of dancing on a box after he hits the big 3-0. Now, the series is back and seeking funding for a second season on Kickstarter.

After the show’s successful first season, the creative minds behind the show, which include Fowlie, co-star Brian Jordan Alvarez and director Jordan Black, began shopping the show to TV networks. While that process continues, they wanted to create more online episodes to thank the show’s fans for their support. The second season will follow go-go Danny (Fowlie) as he tries just about everything he hasn’t already, including porn, dating, and even listening to NPR.

The second season will also see the return of season 1 cast members Drew Droege and Lynn Stewart along with new additions such as Heather Morris (Glee), Scott Evans (One Life to Live), Briga Heelan (Cougar Town), Chris Riggi (Gossip Girl), Willam Belli, Fortune Feimster (Chelsea Lately), Broadway’s Nick Adams, and Karen Maruyama (Arrested Development).
Source: http://www.towleroad.com/

“zack & luc” is the story of two ordinary men in a relationship. It captures the small moments, the ones we often don’t remember to remember: brushing our teeth together, having breakfast and perusing the newspaper, running through the woods, and looking at the stars. It is a dramatic, experimental short film that will be presented entirely in split screen, the perspectives of the two men presented side-by-side. One side of the split screen is chronological while the other is reverse chronological: each moment is pushed up against another.  This means the audience sees the first and last moment together simultaneously and at the end of the film sees the last and the first moments there again from the two men’s perspectives.

BULLS focuses on a current taboo within sport, homosexuality players.

The short film explain the reason as to why gay men moved from ‘traditional’ rugby leagues in favor of gay rugby tournaments.

Through interviews with the rugby players, BULLS try to break the stereotypes society has of the gay world, about the absence of openly homosexual players in sports teams and the idea that gay men don’t take on sporting roles because they aren’t manly enough. Rugby, along with its ‘matcho’ connotations, is a suitable sport to help break the gay stereotypes.

BULLS has been selected in 16 different film festivals around the world: UK, Spain, Greece, Switzerland, India, United States, Brazil, Paraguay, Perú and South Africa.

The privileged Manhattan milieu is reminiscent of early Whit Stillman, but the storyline is closer to “The Line of Beauty” or “Brideshead Revisited” — surely it’s no accident that the most troubled character here is named Sebastian — in “Those People.” Joey Kuhn’s feature debut is impressively polished, but its burnished surface is more highly worked than the unevenly satisfying drama beneath. This tale of unrequited love among young denizens of the Upper East Side should nonetheless prove a popular item on the gay fest circuit, with niche home format sales assured and limited theatrical exposure a possibility.

Charlie (Jonathan Gordon) is finishing art school, but he seems primarily occupied as usual with the needs of longtime best friend Sebastian (Jason Ralph), the fulcrum of a clique that also includes Ursula (Britt Lower), London (Meghann Fahy) and “token straight boy” Wyatt (Chris Conroy). Sebastian is a reckless party boy who’s all alone in his family’s townhouse: His father, “the most hated man in New York,” is now in prison due to some Bernie Madoff-like financial skullduggery, and his mother has simply abandoned them both in the wake of the scandal. There’s little public sympathy for this poor little rich boy, as it’s suspected he knew about Dad’s swindling misdeeds all along (and, in fact, he did).

Charlie is so besotted with his charismatic if manipulative pal that when he’s assigned to paint a self-portrait, he does yet another portrait of the handsome Sebastian instead. The latter is all too aware of this blind devotion, which he exploits by constantly, flirtatiously raising Charlie’s hopes, then pulling back short of physical engagement. Though no one else thinks it’s a good idea, Charlie agrees to move in with his friend in this hour of need. But their somewhat unhealthy mutual dependency is shaken when Charlie meets handsome older pianist Tim (Haaz Sleiman, “The Visitor”), a Lebanese emigre who’s as upfront in his declarations of affection as Sebastian is exasperatingly elusive. Needless to say, Sebastian is displeased by no longer being the sole object of Charlie’s affections, and his jealous sulks soon border on self-destruction.

Everybody here seems to have father-abandonment issues. But the pathos that should underlie this world of privilege isn’t as vivid as the rather bratty, arch, self-satisfied surface of the protagonists’ insular society. They’re not half so clever or adorable as they (and Kuhn) seem to think they are: Sebastian and Charlie’s ritual of speed-reciting Gilbert & Sullivan’s “I Am the Very Model of a Modern Major-General” from “The Pirates of Penzance” is an affectation that gets very old, very fast.

Nor is it awfully clear why the confident, mature Tim would be so enamored with the fey Charlie, who, in Gordon’s overly coltish performance, has a tendency to giggle and yelp at the least excitement. Ralph manages to suggest greater depth to the floundering Sebastian, but the script provides only limited help. It’s too bad there aren’t more meaningful scenes like the late one in which he finally goes to visit his father (Daniel Gerroll) in prison, and their brief, unpleasant interaction reveals just how a young man with so much in his favor might have turned out at once spoiled, directionless and insecure.

Taking its cue from the expensively tasteful old-money look of Sebastian’s home, the pic is handsomely turned on all tech and design fronts, particularly Leonardo D’Antoni’s widescreen lensing, which captures Manhattan at its glamorous autumnal best.

Source: Variety.com review by Dennis Harvey

“Quarters”, directed by Jorge Ameer (who also compiled and “presents” the DVD), is a heartfelt story in which a groom’s best man confesses his longtime love for his buddy the night before the wedding.
The night before his wedding, Paul celebrates the last hours as a bachelo with childhood friend Jeremy as they drink and play “Quarters”. However, as both men raise the stakes, so do the confessions and dares. This is one night neither is soon to forget.

RAW is a fast-paced drama set in the kitchen and floor of a successful and thriving Dublin restaurant. It is an exhilarating and anarchic relationship drama that follows, to the beat of a pulsating soundtrack, the lives, loves and tribulations of the young staff, their friends and families and the intense friendships, relationships and rivalries that blossom and thrive. RAW is a microcosm that mirrors the daily swings and roundabouts of life in a busy, Dublin business trading in today’s Ireland.

The unanimous reaction after most of us walked out after the screening of the film was ‘It was so bad’. A few of us looked at each other and remarked how could this film have been in the top 10 favorites of the festival committee but then hey everyone has their own choices. But it seemed like most of us belonged to the category where they questioned this American indie comedy. The story of a self centered executive who will go to any lengths to win his ex-back just did not go well with me and quite a few others.

Paul, an ad-executive now realizes after almost a year of breakup that he might have lost something very good with his ex Brad. Since Paul is a self centered man who just thins about himself, and is not used to losing, he wants to win his man back. Brad on the other hand is now dating another colleague Alex who is bisexual. Paul comes up with a plan with his doctor friend Burt. Burt needs a lot of money to save his clinic which Paul offers to give him if Burt plays along with the act that Paul has cancer. This could bring Brad back to him. Initially reluctant, Burt agrees and this is when the mess begins. Because of the news, Paul’s family of parents and sister move in with him to take care of him. It also brings Brad back to him. Brad starts working with Paul at home on the project and slowly they start remembering old days. It seems things are falling back in place. Meanwhile Paul’s sister seduces Alex following which Brad and Alex break up. But when he finds out the truth about Paul’s fake cancer from his sister who was always suspicious, he is deeply hurt but as expected everything ultimately falls in place after some drama.

This movie could never make up mind whether they wanted to be a simple comedy, over the top comedy, a lil bit serious or just plain simple annoying. Paul’s character was supposed to be annoying which I guess he did well but Brad seemed as if he just came out of a sugar jar. So sweet always and with pretty much similar expressions on his face throughout. And dont even ask about the woman who played Paul’s mother. She was sooooo over the top that it was annoying. The film took a long time to build up the whole story of fake cancer and then just suddenly out of the blue, the beans are spilled (as if the director just ran out of steam and wants to finish the film). But that does not actually happen. As sudden as Paul’s secret is found, in the next 5 minutes we also see how Paul realizes his mistake and finally over a period of time wins back Brad by right means. The end seemed so rushed. The screenplay was not evenly divided throughout the film. And to top all this, there wasn’t enough eye-candy too.

This movie joins the rank of really bad indie gay cinema that US produces. Please, lets learn from some of our best foreign gay films. (2/10)

Source: http://alternatesexuality.blogspot.rs/2011/07/love-patient.html

A celebrity packed short with a musical twist about the bar scene in Weho. A first collaboration between acclaimed director Guy Shalem, Tony award winning composer and lyricist Jeff Marx (Avenue Q) and 5-time Grammy-award winning producer, composer, and lyricist, Mervyn Warren.
A young man decides to leave his lover, and must now wade through a sea of lost souls looking for… something real. An unflinching and poignant assessment of gay culture in the year 2012, this comedic, ultimately romantic film reaffirms our never ending hope that the right guy is out there.

Starring (in alphabetical order): Adam Friedman, Bruce Vilanch, David Devora, Dennis Johnson, Drew Droege, Jack Plotnick, Jacob Demonte-Finn, Jeffery Self, Jesse James Rice, Jonny McGovern, Joel Michaely, Jordan Black, Lucas Bane, Maile Flanagan, Micah McCain, Mike Rose, Miss Coco Peru, Patrick McDonald, Rex Lee, Roy Jenkins, Sam Pancake, Tony Tripoli.

A message from Javier’s boyfriend changes his family situation and causes them to reconsider their relationships.

Jose Antonio Cortés

Spain Director Script Writer He was born in Hondarribia in 1957. He studied to become a teacher in San Sebastián. Later on he moved to Madrid at the end of the 70’s where he studied in TAI acting and direction. His life has been dedicated to teaching. He writes and directs theatre plays. Look at Me it’s his first short film. It was released in the Gay and Lesbian International Sevilla Festival, from Andalucía, Spain in 2007. Pure Poison it’s his second short film which was also released in the Gay and Lesbian International Sevilla Festival, from Andalucía, Spain, in 2010. Adán y Estéban it’s his third short film. It was selected for the 7th edition of the Gay and Lesbian film festival of Andalucía, Spain, in 2011. NAKED, premiered in 2013, it’s his 4th short film. Ultimo Pase, premiered in 2014, it’s his fifth short film.