Wasp (2015)
Olivier (Simon Haycock) takes his boyfriend James (Hugo Bolton) on a romantic break to his house in the South of France. Whilst is France they bump into Caroline (Elly Condron), an old friend of James’ who has been dumped by her boyfriend. The couple agree to let Caroline join them for their vacation but Olivier is less than happy at having a third person around for the duration. As the days go by Olivier and Caroline clash but soon they realise their dislike of each other may actually be covering up something more surprising.
Wasp is the feature-length debut of Swiss writer/director Philippe Audi-Dor. The film features only three actors and takes place in and around a beautiful house in Gordes, Provence. One of the first things you notice is that Wasp is incredibly understated and that’s definitely one of its strengths. Audi-Dor doesn’t feel the need to make his characters veer off onto monologues to move the plot along and often the silences in the film speak volumes about the characters.
The central plot focuses on the arrival of Caroline into the midst of Olivier and James’ romantic break. Early on in the movie Caroline questions whether either men have been with a woman before and Olivier confesses he has but not since he came out. It’s established early on that the strong-willed Caroline is happy to push whatever buttons she needs to in order to get a reaction and despite an initial dislike between her and Olivier, the two characters start to be drawn to one another.
It’s at this point that the film gets really interesting. We’ve seen countless films exploring closeted characters that are attracted to the same sex but we’ve never seen a film before where a man who identifies as gay begins to question if he is indeed gay or possibly bisexual. The way the story unfolds is really intriguing and we commend Audi-Dor for doing something different and unexpected. The tension that builds between Olivier and Caroline does so expertly and at a believable pace.
We really don’t want to give too much else away about the plot but all we’ll say is that there are plenty of surprising twists and turns as you head to Wasp’s climax. Audi-Dor has assembled a stellar cast for the movie with all of the leads equal to one another in terms of their performance. Simon Haycock does a great job of conveying Olivier’s conflict through his emotive performance and he has superb chemistry with both Hugo Bolton and Elly Condron. Bolton makes what could have been a fairly flighty role rather meaty and Condron has great fun playing the devilishly manipulative Caroline. The trio works really well together and they really excel in the scenes where the tension threatens to boil over.
Audi-Dor, who wrote the movie and directed it, also deserves special comment for what he’s achieved. The film doesn’t feel low budget and the cinematography captures the stunning location really well. It’s not easy to make a film with only three actors compelling and whilst this could work well as a play, Audi-Dor’s direction makes it an intriguing character study and he gets superb performances from his actors.
Wasp isn’t due to be released until Spring 2015 and we think you should be making a note in your diary to see it now. With strong central performances, an interesting and original premise, and stunning direction it’s a film that took us by complete surprise. We’ll be keeping an eye on Audi-Dor to see what he does next and we’ll also be closely watching the careers of Simon Haycock, Hugo Bolton and Elly Condron.
Source: entertainment-focus.com
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“2 Minutes Later” is a crime-fighting/comedy film with some flesh and sex (not excessive, but certainly more than necessary). It tried to equal the sex & violence quotient seen in similar ‘straight’ films. This film’s director, who was present the night I attended, got on stage before the film screened, and said that his film was meant just as fun entertainment; nothing more, nothing less. — and to the person who accompanied me to this screening, that’s what it was. To me it was just a gay reworking of many straight suspense films, with a major plot element (spoiler) borrowed from “Blow-Up.” It had a fair amount of tepid comedy added into the mix, justifying the director’s statement that it could be called ‘light entertainment.’
problem (which wasn’t easy) and see the film the way it’s producer intended me to. It had it’s fun moments, some suspense, and I almost enjoyed it, until “The End” credit came on-screen with a question mark (?) added after a few seconds, a la “The Blob.”
Good movie. You’ll feel all good and hoping the world could be like the movie, with fathers getting along with their gay sons. Here, Russell Crowe, yes him, plays a big gay. Jack Thompson plays his father. They have an awesome relationship. Jack is extremely supportive and accepts Crowe’s homosexuality like I’ve never seen in a father-son relationship before.
To top it all off, Russell’s grandmother was a lesbian and she is remembered fondly, and Russell plays footy. He’s just a nice and ordinary guy. You will also get to see various types of gays in the movie. Queens, older gays, butch gays (like Crowe) etc. It’s great when movies reflect the wide range of gays available.
Rudy is a man who performs nightly at a gay bar. He comes across his neighbor, a lady with sign of drug abuse. She has a son named Marco. “Marco was a sweet kid and smart and funny. He had a smile that could light up the room. He loved junk food. Chocolate doughnuts were his drug of choice”. He is just innocent and childlike beautiful like others. Unluckily and ultimately sad, he has a Down syndrome. When his mother left him unexpectedly, the life of Rudy and Marco intervenes with each other.
Paul is an excellent lawyer. He has divorced his wife because he realized that something is different. He understands what he really wants, and the moment he meets Rudy proves the immortally legendary tale “Love at the first sight”. Together they go on a journey of protecting and fighting for Marco as well as for themselves so that Marco will have a safe and good environment for upbringing. Together they surpassed things and succeeded, to a certain extent.
On that journey, audiences witness many segments of life in which there are supports, there are oppositions. What does not kill us makes us stronger. What always stands by them make them strongest, and that is their love, their will, and their hope. Sometimes, it is false hope and is proven by the evily opposite sides, but the film does give us a far more valuable message: Mistake is born every day. We hardly notice it until time tells us. That moment is when we are struck by the consequences of our own neglect.
Imagine you are gay, or your child has the Down syndrome, you will not simply suicide or throw your child away, will you? If you really might, what is the reason? And no matter what the reason is, life is not born to be killed like that because the meaning of life is limitless beyond human recognition and knowledge. If we have the opportunities to live a normal life, we should help others because if everyone thinks in such way, there will be time when we receive help from others.
A handsome middle-aged businessman patrols the streets of San Francisco looking for the perfect rent boy. Jonathan isn’t looking for the hottest or sexiest guy, rather he’s got a very specific type in mind. Back in his hotel room, he dresses them in a brown wig and douses them in a particular cologne. Exacting and ill-tempered, he auditions one and then another until he finds the perfect fit. Once he’s found what he’s looking for, he offers the chosen hustler a handsome salary to accompany him on a road trip to the Grand Canyon. No questions, no back-story; just dress and act as instructed and collect your cash.
In the tradition of so many great American road trip films, our mismatched duo hits the road. They stay at cheap motels, drink at local dives, and pose for pictures at roadside landmarks. But even as they begin to bond with each other and enjoy the company of a colorful couple traveling the same route, a pervasive sense of mystery continues to cast a shadow over the trip. Each time one of the many questions that surround Jonathan and his travel companion is answered, it only seems to open new and deeper questions.
