DVDebut: From TLA, two new gay movies, SNAILS IN THE RAIN and THE THIRD ONE

You can always count on TLA for a constant flow of GLBT films. The quality may vary (a lot) but the movies just keep on comin'. Last month saw the appearance of a couple of new-to-DVD releases that just might be worth your time.  SNAILS IN THE RAIN, a rather silly and not particularly appealing title explained only by the final scene of the movie (and even then it's mostly a big "huh?"), takes place in Israel back in the late 1980s and is all about homosexual panic on the part of its protagonist, a young hunk of a linguistics student on the verge of obtaining a much-wanted scholarship and living happily, or so it would seem, with his beautiful girlfriend.

THE THIRD ONE (El tercero), from the looks of its cover art and subject matter (a gay threesome), seems initially like the typical low-end GLBT title meant mostly to turn on its viewers. Instead, it's genuine surprise and a keeper, too: a movie that takes its characters more seriously than its sex (though both here are pretty damn good), pulls us in by virtue of interesting storytelling, writing and performances, and leaves us on as high and thoughtful a note as it does its youngest protagonist, a student who becomes involved with an older gay couple.

The meat of this short (71-minute) movie, written and directed with style, flair and suirprise by Rodrigo Guerrero, occurs over one evening and into the following morning. Earlier, the older couple (Franco and Hernán) has interacted with young Fede over the internet and invited him for dinner and... whatever.

The scene over dinner is actually the high point of the movie because it so beautifully and believably reveals character, motivation, back-story, the works. The filmmaker shoots most of it from the POV of Fede (a lovely job from Emiliano Dionisi, above, center) as he watches for clues about the life of gay adults (at 22, he's around half the age of his hosts). For their part, the older couple (played by Nicolás Armengol, above, left, and Carlos Echevarría, right) offer Fede everything they can -- from food to information to sex. These are, all three, good men, trying to negotiate their lives with decency and caring. Consequently, spending time with them is a pleasure.

Orson Welles is said to have told us that if you want a happy ending, this all depends on where you stop your film. Guerrero smartly ends his the morning after a lovely, productive, highly sexual night in which all three men have experienced pleasure and caring, each for the other two. Whatever is to come will no doubt be fraught with some change and disappointment. But for now, a new world has opened up for these guys.

In casting his film, Guerrero insists on men who are certainly attractive but not model-pretty with gym-toned bodies. This adds enormously to the movie's believability. The Third One -- from Argentina and in Spanish with English subtitles -- is available now on DVD from TLA, for purchase or rental. Oddly enough, the movie contains some very brief hardcore scenes (of other actors, not its main cast) during the initial web chat that begins the film, as a kind of object lesson, I guess, in what young Fede wants or can expect. This also frees the three leads to perform as genuinely and enjoyably as they want or can, since no full frontal views of these three mean are to be seen in the actual film.

Snails in the Rain is another matter entirely. Though its story is a good deal darker than that of The Third One -- its young protagonist begins receiving daily  "I love you" letters (below) from an anonymous admirer, and soon his whole identity, personality and life is thrown for a loop -- its ability to handle this subject seriously is questionable. Beginning with the casting and use of leading man (Yoav Reuveni), with his model-pretty face and body-beautiful good looks, we're in "movie" reality.

Further, director and co-writer (with Yossi Avni Levy) Yariv Mozer keeps sticking that body -- as unclothed as possible (save any full-frontal shots) at almost all times -- in front of us to drool over. And drool we do. Mr. Reuveni is sho' 'nuf one hot guy.

As the letters pile up and the character's desire for a little homosexual fun clashes with his utter panic, we get one after another flashback to former times, in which something almost happened (above), or a scene in current times (like the one below) in which something almost does. Meanwhile, his poor girlfriend gets the brunt of his forbidden desires -- nicely in a bathtub or nastily, from behind over a kitchen table.

Character, however, is something that really doesn't surface here. Instead we get the physical incarnation, nifty as this is, but little emotion or depth other than that same old fear that keeps surfacing. Over and over and over. The question of who is sending the letters is fairly easy to guess and eventually comes out -- to a bit of suspense but little real effect.

Snails in the Rain -- in Hebrew with English subtitles and running 85 minutes -- is available now from TLA for sale or rental.

Must-see DVD: Abe Sylvia's DIRTY GIRL proves just as good the 2nd time around

If you missed its (very) limited theatrical release (most people did), don't miss seeing DIRTY GIRL on DVD. My original review is here, so I'll make this reminder short. Abe Sylvia's wonderfully energetic, spacious, full-of-laughs-and-charm "buddy road trip" featuring the "dirty girl" of the title and her fat, gay friend is simply the most fun you're going to find on film for a long while. The two leads are splendid: Juno Temple (below, left) in what would have been a star-making performance if enough of us has seen the film, and Jeremy Dozier (below, right), who is so very good (funny, original and real), once he sheds some poundage, he might be quite the ladies' (or men's) man. (Even if he remains the plum little puss he is here, this guy's a keeper.)

Writer/director Sylvia does wonders with his kids -- who need some parental love and approval (and in one case, simply a father), and who bond, fight, help, hurt, and through it all, grow. And his cast of circling adults-- including Mary Steenburgen (below, right), Dwight Yoakam, Milla Jovovich (below, left) and William H. Macy -- are top of the line. The ending, shamelessly feel-good (and I wouldn't have it any other way), should have you walking on air. The movie's music, too, is aces -- particularly if you're a Melissa Manchester fan.

Right now, the only place I can find Dirty Girl is via Netflix. Blockbuster didn't bother to stock it, and even at my little local video store, they hadn't heard of it. Shameful. This movie is so worth seeking out. So seek -- until ye find.

Oh, Mama! Abe Sylvia's DIRTY GIRL delivers shameless, fabulous fun

OK: honest injun, DIRTY GIRL is not the greatest movie of the year. But it's certainly up there with those that have provided me the most fun. Joining the ranks of the recent "R"-rated comedies -- first, for the boys (Hangover etc.), then for the girls (Bridesmaids, etc.) -- this movie, from first-time/full-length writer/director Abe Sylvia (who makes a more-than-auspicious debut) has broadened the field to now include the first R-rated girls-and-gays comedy. In the process, Sylvia has managed to hit so many of the right buttons in a manner just off-kilter enough that they almost seem new. They're not, but you may well be laughing hard enough (and smiling when the guffaws calm down) that you won't notice. Or, even if you do, you may not mind.

One of the really special things about this movie is how Mr Sylvia, shown at right, manages to shock us and make a laugh, while also seeing to it that we like his characters, every damn one of them, including the homophobic father (played quite well by Dwight Yokam, below right) and the Mormon maybe-to-be step-father, essayed with his usual craftsmanship, by William H. Macy (shown at bottom).

The guys -- bless 'em -- do seem to get it in the stomach (more often the balls) in this movie, while the women tend to come out smelling like, if not a rose, maybe a lilac or carnation, as does our delightful gay hero, played with simply terrific, shruggy savoir-faire by newcomer Jeremy Dozier, below, whose first full-length film this also is.

Mr. Dozier (at left) is a doozy -- so funny and chubby and real and endearing as Clarke (note the "e") that I dare you not to be captivated by his combination of neediness and determination. Joining him in the other leading role is an actress, Juno Temple (below, who plays dirty girl Danielle), whom I've been watching with great interest for a couple of years now. From St. Trinian's to Glorious 39, Cracks to Kaboom, she's been just good and versatile enough to stand out. Here she comes into her own, and it's a star-making performance. Temple's chemistry with Dozier is right and real, as the two bond haltingly at first, then out of necessity and finally out of genuine friendship. These two are so good together that their relationship makes the movie.

Not that there aren't other excellent performances, as well -- among them those of Mary Steenbergen (below, right) as Clarke's mom and Mila Jovovich (below, left, playing, what?! a mother role now, as Danielle's progenitor). Also offering very smart work is Nicholas D'Agosto as a hitch-hiking stripper named Joel.

Part family film, part outsider movie, part road trip, Dirty Girl is held together as much by the filmmaker's savvy ability to negotiate various mood changes, as by its consistently excellent performances. Set in the late 1980s, it also boasts styles, songs and famous names of the period -- like Joan Jett, who lends her moniker to the very funny and useful bag of flour that our two kids must carry around all day as a practice "baby."

Thanks to some very funny and charming animation, this little 5-pound bag (above, middle) changes its expression with each passing mood and event and adds a lot of fun to this already delightful and dirty/sunny film. The climax, by the way, is every bit as shameless and fabulous as you could possibly want.

Dirty Girl, from The Weinstein Company, opens theatrically in limited release this Friday, October 7, in New York City, Los Angeles, Berkeley, San Francisco, San Jose and Tampa.  To see all the theatres, simply click here and then scroll down to TICKETS AND SHOWTIMES, type in your zip code and click on one of the three on-line ticket purveyors.

Andrew Haigh's WEEKEND finally arrives, trailing beaucoup press and awards....

...which are, for the most part, deserved. It's been awhile since any movie showed us a relationship-in-the-making with such finesse and acuity. Before Sunrise, as has been noted elsewhere, comes to mind. Both films rely heavily on dialog, on the chemistry between the two lead performers, and on the filmmaker's ability to capture the parry/feint/thrust that goes on actively (or passively) in most burgeoning relationships.

Andrew Haigh, the filmmaker of WEEKEND (shown at right: he wrote, directed and edited the movie) has done a splendid job of  this, coaxing two tremendously real performances (or maybe he simply allowed his two leading actors to "be") that are spot-on for the film's entire 96 minutes. The movie has the look and feel of improvisa-tion yet the writing is full of smart, quick, well-chosen dialog that helps create character, even as it advances the plot (such as it is) and fills us in on people, place, time frame, history, the lot.

Oh, yes -- and our two protagonists are men: Russel (Tom Cullen, above, left) and Glen (Chris New, right). So this year's top "relationship" movie thus far is, ummm, about gays. Because of the skill with which Mr. Haigh has guided his film and brought it home, it is easy to understand what all the advance press and praise is about. And the film will certainly play well to intelligent gay audiences. It might also play as well to straight audiences -- if they will let it. I suspect not, but still, we must live in hope.

In passing, and via that very real dialog, we learn in what profession each man is employed, that Russel is still semi-closeted, while Glen is anything but, and that, as the relationship begins to build, how the two alternate places in the catbird seat. I do wish I could have understood more of that dialog, however. Because of the accents (Cullen hails from Wales and New from Britain), I missed a certain amount and so will rent the DVD when it appears and hope for English subtitles.

If there is to be any fault leveled against the film, it might be that it is so very small. But that, according to filmmaker, is what he wanted: " to explore some of the more subtle aspects of the gay experience, especially how people deal with the weight of being different and the choices they make because of it."  In this, Haigh has succeeded in spades: Why, perhaps, Russell (above) works as life guard or Glen (below) feels the need to be always so quick on the trigger.

Most of all, I believe, we learn what these men are afraid of, and -- even more haltingly -- what they want. The movie gets as close as anything I have seen to the heart of commitment, as well as to our innate fear of this. The final scene between Russell and Glen is extraordinary, and Haigh's ending is a real achievement. I could go on, but you need to see Weekend (forget the old Godard movie; there's no connection) as soon as you can, before you hear too much and either expect too much or have certain scenes spoiled.

The movie, from Sundance Selects, opens this Friday, September 23, in New York City at IFC Center -- with a national rollout to follow. Click here and then scroll to the right to see upcoming release dates, cities and theaters.

All photos are from the film itself, except that of Mr. Haigh which comes courtesy of indieWIRE and was taken by Brian Brooks.

Yeow -- it's João! Pedro Rodrigues gets a retro at BAM; quick chat w/the filmmaker

This week BAMcinématek's popular series The Next Director goes gay -- and kinda wild -- with the introduction of Portuguese filmmaker João Pedro Rodrigues' five-film retrospective (three full-lengths and two shorts) beginning Wednesday, October 6 at 7 pm (O Fantasma, preceded by the short Happy Birthday!), continuing Thursday, October 7, at 7:30 (Two Drifters, preceded by the short China, China) and ending Friday, October 8, with two showings of his latest movie, To Die Like a Man, at 4pm and 7.  The latter screening will feature a Q&A with Rodriguez and his frequent collaborator and jack of all trades, João Rui Guerra da Mata, who's done everything from acting, writing and directing to art/set decoration and costume design.

Though João-One (shown at left) claims he doesn't like to talk about his work (see interview below) -- and who can blame him? An artist's work should speak for itself -- still, he proved a charming and interesting conversationalist, so TrustMovies bets he'll make a smart and enjoyable host for that Q&A. If you're a newcomer to JPR's output, you're in for a crazy ride. In the first of the shorts in this fest, Happy Birthday! (Parabéns!),

a 20-year-old student (Eduardo Sobral) that a 30-something architect (played by João-Two, shown at right) has picked up the night before, awakens in the latter's apartment and has a morning look-around. Young Sobral is a delight in this extremely fresh outing, the most "normal" of Rodrigues' films that I've seen.

O Fantasma, on the other hand, tracks a sexy young Portuguese sanitation worker and is dark, dirty and hot--very hot--if you like your sex spiced with a good deal of S&M. The photography is excellent, and the performances are fine--as far as they go. The lead character has a dog fixation (he likes 'em and he likes to act like 'em, too). As the film moves along, his behavior grows more erratic and off-the-wall, culminating in a night-long spree of violence and sex that finally approaches the deep end. There is not a lot of story here, and you may find, as I did, not much reason to care about anyone in the film, but you can't easily dismiss the eye-popping visuals and the even more unusual character at the center of things. Night-time gay prowling has seldom seemed more bizarre.

In his second full-length narrative, Two Drifters, Rodrigues tackles this time a woman who fixates on the recently-deceased lover of a bereft young man.  The filmmaker's narrative here is much more complicated than in O Fantasma, though whether or not it at all coalesces will be yours to decide. For me, it did not, though I found the filmmaker's themes -- and how he deals with them -- as fascinating as they are flawed.  And, as I recall (it's been five years since I've seen this film), the song "Moon River" will never find a home in an odder movie.  (Two Drifters will be preceded by the 14-minute short China, China, which I've not yet seen and is said to deal with a Chinese family living in Lisbon.)

Rodrigues' longest and most-heralded film so far is his latest, 2009's To Die Like A Man, which tells of the travails of Tonia, a transvestite on her way to full transgenderation. The film opens with a young man applying... make-up?  Or is it war paint?  Then we cut to the shot of a spider in her web and then to a pair of soldiers, one of whom is that young man again, in camouflage, on a mission or perhaps part of a military game. Strange, very bad things happen, but, as usual with Rodrigues, you can never be sure if they're real.

In this film, which involves sexuality, identity, children, father-and-son (or mother-and-sons: Trannies, you may realize along the way, allow you to have your mom and dad all in one!), Rodrigues has created quite a character in Tonia, his drag-show entertainer with a fondness for young men, whether they be her son or her lover. That lover's a druggie, and so the two squabble, make up, and squabble some more. He's off drugs, then back on. And when s/he gives the kid a blow job, be breaks it off mid-suck.

Instead of the story circling around, it's the location that does so, coming back to the house through the window of which, at the film's beginning, the two soldiers watched as two transvestites partied.  When we come back to this house, the film turns (even more) surreal, offering up a love song (religious?), as our characters, including a dog, sit together in what seems a kind of enchanted forest. After which the movie momentarily turn into L'avventura (with Tonia standing in for the missing Anna).

Arbitrary does not begin to describe this movie -- philosophical, funny, moving, sentimental, silly -- in which events, desires, characters all change at the drop of a hat.  And yet, as usual with this man's work, you can't shake the thing. And Rodrigues saves his best costume, a glorious one, for the finale. And also his best line: "Don't be so sure; that's not who I am."

The Rodrigues retrospective takes off this Wednesday, October 6.  You can find all the information about it, including ticket availability, here.  Directions to BAM can be found here.

******

In order to speak with João Pedro Rodrigues (right), we do a Skype phone call -- New York to Portugal -- except that it's been quite awhile since TrustMovies has used Skype, so he's forgotten all the computer technology regarding what plugs into where.  Rodrigues, a very good sport, puts up with several phone calls with, apparently, no one at the other end of the phone -- until we get it straightened out (so to speak).  In the below interview, TM appears in boldface, and Rodrigues in standard type.

Whew!  Sorry about all that. I don't use Skype often enough to remember how to do it...  OK: I think I've seen all your films at this point -- oh, except for China, China. Any chance that we will see that soon?

Yes, it’s part of the retro at BAM. (João's right; this short precedes the showing of Two Drifters, Thursday, October 7 at 7:30.)

Do your films reflect gay life in Portugal, particularly?

I don’t draw the films to make a portrait of how is gay life in Portugal. It is more the stories I have in mind that are closer to me that I want to tell in that moment of my life. My purpose was never, when I started –- well, of course they are gay-themed but that was not my purpose. That is because I am gay and these are the stories that I want to tell. But I do feel in myself that my main goal is not to make gay cinema. I just want to make films.

And you have. Drifters, in some ways, was not so gay. Or was it?

(He laughs) That’s a good question. How gay is it? And what does that mean? Mainly I want to make my films for everybody. Anyone who will see them and can -- or can not -- appreciate them. There are people who love them very much and others who hate them very much.

I try to be honest with what I am telling and my feelings. But my films are not autobiographical. Of course there are elements of things that come from myself. Because I write them, along with other people. But they are not portraits of myself . I don’t want to make self-centered cinema. I make my films for others to see.

So you are making them for as many people as possible to see. That’s what all artists do, on some level, I believe.

I do understand that these are not films for six-year-olds. But if you are 16 or 18 or more, then I think it is OK.

When Drifters first came out, it was allowed for twelve or older to get in to see it in Portugal. But for To Die Like a Man… (he thinks a moment) I cannot remember because I was traveling a lot to promote the film and so I was not here when it opened.

I believe that children can better understand things than we, especially we here in America, give them credit for.

Yes, and anyway, they have access to the internet.

(I laugh) Right! It seems to me that you’re films have grown a little darker, one after another, as you’ve progressed --from Happy Birthday to O Fantasm, from Drifters to the new one. Does this make sense you?

Hmmm… (He think about this.) Maybe so. Happy Birthday, from 1997, was my first short. So… Yes, because I think I have grown darker myself.

That’s probably normal; as we age we become aware of the darker side of life and things that we can't so easily dismiss.

Maybe, but some people never seem to do this – to come to terms with the tragedy or what is happening in their lives.

One of my biggest questions about To Die Like a Man regards who the two “women” are that we see at the beginning, through the windows and then at greater length in the middle of the movie? Their house, and especially that wooded area around the hose seemed like something out of Shakespeare – the Forest of Arden. Something magical maybe.

They could be like ghosts, and yes, in an enchanted forest. You know, the character of Maria already existed as a character. A friend of mind plays this character in a play in the theater. She plays it in English. Originally she did not want to play it in Portuguese. But this character in the film is not exactly the same as Maria. The character is inspired by everyone from Callas to Dietrich. My friend creates a character, he sings songs, plays jokes, and is very funny. But it only makes sense in English -- at least he thought this would be true. He thought that the subtleties of the English language could not adapt to Portuguese, so I had to convince him.

So you did convince him, apparently. But where did his original character come from?

There is a book called Casa Susanna in which there are photos from the 60s of men dressed as women in a country house and in the forest. It is by Robert Swope. The people are not identified because the photos were found in flea market. There is one photo that says Casa Susanna. So he imagined this as the place where these men wearing drag would meet and have conversations and tea and whatever. These were the inspirations for a kind of utopia where you could be as you want to be.

Interesting.  Because, even though this is a world that could offer her/him a lot more freedom, Tonia becomes frightened there and insists on going back to her home and her life.

These two characters are kind of cynical. So Tonia feels this way. But these characters also made her think more about her life and that she did not make finished all the things she wanted to. Finding these two women suddenly made these questions more powerful for her. She always led her life trying not to think about these things. When I wrote the script for the film, I interviewed a lot of drag queens and transsexuals. While it is a fiction, some of these stories are true. And I think that we all tend to put our problems aside and try not to think about them. When Tonia faces her problems, she is also ill and so must come to terms with them.

Watching the film made me wonder if you, as a filmmaker, and maybe as a person, wanted to put the two sexes together into a single package that incorporates both male and female. So we can have it all.

Hmmm. ..I don’t have many friends who are this way, so I didn’t really know these people. They puzzled me. So the film is a reflection of what I felt while I was hearing these stories and while I was meeting these people. I don’t also want to give any answer that might say, "Transsexuals are all like this."  Even though my film is a tragedy, I did meet some younger people like this who seem to have a happier life. It’s not easy, this thing of changing gender, but they are people who have a somewhat normal life. Not every story is a tragedy. But I wanted to tell a tragedy so I wrote a script like this one.

Do you do see this story as tragedy??

It’s like a classical tragedy, because there is someone who can not find her most inner desires.

But also at the end of the film there is a kind of acceptance of her/his destiny. As there is with her young lover. So they are at peace, perhaps?

As she is very Catholic, there is almost, like, an assumption. She is the Virgin of -- or the Madonna of -- the Transsexuals. She is reaching up. And wearing red and blue – the colors of the Madonna, as in the painting of Titan and others. That I like very much!

What’s it like in Portugal – for gays?

We are following the steps of Spain. Gay marriage was approved in Portugal just this year -- a few years after Spain did it. Like in Spain, it was a political decision. We have a socialist government now -- you would call it liberal – and when we had elections, part of the program of that party was saying that they would approve gay marriage. If we had a popular referendum, it probably would not be approved. So I think it was a very brave decision on the party’s part.

Evidently you can trust your political parties to do what they say they will do. We can’t do that.

(He laughs) Sometimes, at least. Sometimes they promise things, and then they do not do them.

How is the economy there?

Not so good. Very complicated. We were always one of the poorest countries, and now that we are in the European Union, we are still one of the least developed counties.  It is not easy.

So you're on the Euro, right?

Oh, yes.

Is there anything else you want to say – while I’ve got you. Something you’ve always wanted to say, but nobody ever asked.

(He thinks a bit.) Only that I always feel that I am not the best person to talk to about my work.

I think you’ve been a fine person to talk to.  But you're right: When the work is good -- when it's real -- it will speak for itself. So thanks for this interview, João, and enjoy your time in the US and at BAM.

Straight-to-DVD: Auraeus Solito's BOY dis-covers love (and sex) among the fish tanks

Possessing neither the kick (a truly bizarre situation), length (100 minutes) nor scope (an interesting swath of Philippines society) of his surprising debut feature, The Blossoming of Maximo Oliveros, Manila-born director Auraeus Solito's latest is a small wisp of a movie that, if given half a chance, may yet charm you despite its very quiet pacing and lack of "events."  In "Blossoming," a cross-dressing, pre-adolescent boy from a family of gangsters falls for the local rookie cop.  Here, the 17-year-old BOY of the title sets his sights on a slightly older dancer/hustler whom he sees in the local bar/brothel, and a sweet 'n sexy relationship begins.

Boy is actually Solito's fourth feature, but we haven't yet been able to see his middle two -- Tuli (2005) and Philippine Science (2007) -- per-
haps because they are not as out-and-out gay-themed as are his two "B" movies (Blossoming and Boy) and thus do not so immediately fit into the thriving-if-small, gay niche market here in the U.S. In any case, Solito (shown at left) seems in Boy to be after an odd combination of wish-fulfillment fantasy, family life, economic reality and political discussion. Just as oddly, he makes it work -- if barely, and at least for this viewer, whose know-
ledge and understanding of the Philippines is tenuous, at best.

The title character, played by a pretty, somewhat feminine-looking actor named Aeious Asin (above), seems at first a fellow of few words. He is talked "at" by the owner of the brothel bar where we first meet him, and then by his mother. He only comes into his own, verbally, at a poetry workshop where he recites his poem about "getting harder than hard" while watching another boy with a hard-on dance. This might not win the PEN award, but at least it's direct. The other boy, barely much older than his counterpart, is played by a more macho but still quite sweetly appealing fellow named
Aries Pena (below).

The camera-work (from Louie Quirino) captures the movement of the dancing bodies within the darkly colorful club beautifully, and later, when the two boys are at Aeious' home for a holiday dinner, it offers us an even more beautiful scene of lovemaking that includes passionate kissing and exploring, glimpses of Aries' erect member, and visuals that weave in, around and through the many fish tanks placed about Boy's bedroom. (Earlier, we've been treated to an explanation of the various tanks and the fish that inhabit them.) This sex scene seems quite real, with the two boys demonstrating genuine fondness, as well as passion -- all of which combines for an especially pleasurable experience.

Previously, over dinner, Mom and Boy have argued politely the merits of life under the Marcos regime against that of Cory Aquino. And in the morning, Boy travels with his new friend to the latter's home -- nowhere as nice a place as his own, so we get a little class distinction, as well. Mom seems to take all this sexuality in stride, and for a New Year's resolution, both she and Boy agree not keep contradicting each other. Close family ties, according to Solito in both his "B" films, seem to trump homophobia every time.

Boy, with a running time of only 81 minutes, is available from Wolfe Video, the company that pretty  consistently offers a go-to place for decent GLBT entertainment.  The movie makes its DVDebut today, August 10, for sale or rental.