Washington Blade - October 15, 2004

Among the most enjoyable films, based on unofficial ratings by a team of writers who spent the past few weeks watching most of what will be screened, are: "Callas Forever," which takes an imaginary look at opera diva Maria Callas, "Beautiful Boxer," a Thai film based on the life of a male kickboxing champion who longs to become a woman, "Dorian Blues," a coming out drama, and "Bear Cub," on "Cachorro," a Spanish film about a flawed gay man who decides to help raise his 11-year-old nephew.

A noteworthy trend this year is the inclusion of thoughtful movies by several black filmmakers, including Rodney Evans' award-winning film "Brother to Brother" and Debra Wilson's 35-minute documentary titled "Butch Mystique." There also are films this year geared toward the gay Latino experience, including "The Day Laborers," an enlightening story about three Mexican immigrants, and "On the Downlow," a provocative tale directed by Tadeo Garcia about two men in Southside Chicago gangs.

There also are a few duds in the mix. They include: "Harry and Max," an incestuous tale involving two brothers who happen to be musicians, "Testosterone," a boy-meets-boy film that falls short in the plot and acting departments, "Raspberry Reich," which has a German socialist theme, and "Shiner," a disappointing film about violence in relationships.

The following reviews are by: Ken Sain, Brian Moylan, Bryan Anderton, Ines Rivera, Rebecca Weber, Dan Miller, Alton La Day and Rhonda Smith.

* Films are rated on a scale of one to five stars, with five being the best.

Reel Affirmations at a glance - 'Dorian Blues' - Oct. 15 at 7 p.m. - Lincoln Theatre - 83 min.

Not only has everyone lived a coming out drama, but most have seen plenty of them as well. But "Dorian Blues," the most recent entry in the gay-coming-of-age genre, is better than most. Our average Joe, here named Dorian (Michael McMillian), tries to play it straight, but eventually comes out to his conservative father, goes off to college, gets his heart broken, etc. His sexy brother Nicky (Lea Coco) helps him through much of the drama, and a host of quirky characters and snappy dialogue keeps the energy high. First-time writer/director Tennyson Bardwell should have a promising future. While you're not going to see anything new in this movie, you will see a coming out story told very well.

'Raspberry Reich' - Oct. 15 at 11 p.m. - Lincoln Theatre - 90 min.

Gay director/pornographer Bruce LaBruce sets up a bizarre and confusing tale about a group of German socialists who are planning to inflict their will on German capitalist society by kidnapping the son of a wealthy businessman. In order to extract the ransom from daddy dearest, female cult leader Gudrun wants her male cohorts to have hardcore gay sex with the victim and with each other to ensure their loyalty to the cause. Filled with bizarre socialist soliloquies and lots of graphic, hardcore sex, "Raspberry" tries to be both an ironic socialist piece and an interesting work of pornography. It pretty much fails in both respects. (In German with English subtitles)

'Gay Pioneers' - Oct. 16 at 11 a.m. - Goethe Institut - 104 minutes

These days, when taking two minutes to sign an online petition counts as activism, it's remarkable to see the bravery of the first gay civil rights demonstrators. This film tracks the beginnings of gay rights activism through protests in Washington D.C., Philadelphia and, eventually, New York. It features present-day interviews with the activists, juxtaposed with footage from the '60s. Although the narrative is sometimes a bit fuzzy, glimpsing footage of the first activists in action is both impressive and inspiring. This is an important movie that recognizes heroes that don't necessarily have widespread name recognition.

'On the Downlow' - Oct. 16 at 1 p.m. - Lincoln Theatre - 90 minutes

Isaac and Angel are Chicago gangbangers by day, and lovers by night. That conflict is the most interesting aspect of this movie, but it's not quite enough to make up for the holes in the plot. For example, why if Angel has left one gang that he didn't care for and he has a good full-time job, would he be eager to join a second gang? There are times the film slows and loses all momentum. Still, the conflict between having to be the meanest guy on the streets to be in the gang and having a secret love affair with a man gives this film some powerful moments, especially the conclusion.

Playing with this is "Stand By." This is one of the more interesting short films (9 minutes) at the festival. Tony is making a movie about his family and his mother gets a starring role. But this film might hit a little too close to home, though the final three minutes are very powerful.

'The Mudge Boy' - Oct. 16 at 3 p.m. - Lincoln Theatre - 94 minutes

This film is probably not for everyone. It's a strange tale about a teen who has lost his mother and gets little nourishment from his emotionally unavailable father. He always has his pet chicken by his side and likes to wear his mother's clothes. And, he has fallen for a neighborhood bully who is more likely to abuse him than love him. The complex emotions and story resemble real life, and while this film is difficult to watch at points, this movie is worth seeing. The actors give strong performances and this 2003 Sundance Lab product has high production values.

'The Origins of AIDS' - Oct. 16 at 4 p.m. - Goethe Institut - 91 minutes

This documentary should appeal equally to post-colonialists and medical researchers. It explores journalist Edward Hooper's theory about AIDS having originated from contaminated polio vaccines in the former Belgian Congo. While the scientific community rejected this hypothesis, the filmmakers push the envelope by tracking down former employees in remote Africa to give their account of what happened in the labs in the '50s and '60s.

'Love in Thoughts' - Oct. 16 at 5 p.m. - Lincoln Theatre - 90 minutes

This German film is based on a true story that took place in 1927. A young man, Paul, becomes involved in a complicated threesome with a brother (Guenther) and sister (Hilde) and the man they both love (Hans). Paul and Guenther have decided that it is better to die at the moment you reach true happiness, because everything is downhill after that. They vow to end their lives when they reach that moment, and they promise to punish anyone who tries to steal that happiness from them. The film plods along slowly, but the production and acting are strong enough to keep viewers engaged. (In German)

'Noah's Arc' - Oct. 16 at 7 p.m. - Lincoln Theater - 75 minutes

Patrik-Ian Polk, who directed "PUNKS," one of the first major black gay films, presents his latest project. "Noah's Arc" is being touted as America's first black gay television series, though it is only available on DVD at this point. Polk and cast members are scheduled to be at this screening to present and discuss the first two episodes of the series. It's a usual gay buddy setup, similar to "Queer as Folk." There are hot guys who look great with their shirts off and this films features one of the best love scenes at the festival. But the characters, at least in the beginning, seem a little too stereotypical. There is na ve Noah; his uptight Ivy League friend Chance; the diva Alex; and Ricky, the whore. Hopefully, in later episodes these characters will be developed more fully.

"Noah's Arc" is playing with the short film "Beneath the Surface." There is no dialogue in this nine-minute offering about a handsome man and a day in the park.

'Drag Nuns in Tinseltown' - Oct. 16 at 7:30 p.m. - Goethe Institut - 91 min.

If only there had been a Catholic school nun doling out discipline to the editors of this documentary about the Los Angeles chapter of the fund-raising and volunteer organization known as the Sisters of Perpetual Indulgence. Yes, the Sisters publicly appear as white-faced drag nuns and behave outrageously. But what is even zanier is that these queens are dedicated to making the gay community better.

Unfortunately, this film is not the testament they deserve. Too long by half and horribly disorganized, the audience will be praying for more hard facts, a streamlined narrative and less of the repetitive interviews director Ren Blood decided to include.

'Testosterone' - Oct. 16 at 9 p.m. - Lincoln Theatre - 101 minutes

What if your live-in boyfriend of 10 months - a charming, tight-bodied hunk - went out for cigarettes one night and never returned.

What would you do?

Most normal people would probably call the police and file a missing persons report. But the characters in the Canadian film "Testosterone" are anything but normal. Instead, our protagonist, the mildly successful graphic novelist Dean, makes the leap in logic that his boyfriend, Pablo, isn't missing, but rather that he's run back to his native Argentina for some mysterious purpose, and that he must travel there to find him.

And oh how mysterious the journey is. Once he arrives in Argentina, Dean (David Sutcliffe, from last season's ABC series, "I'm With Her") encounters a number of shady characters - including a randy bellhop, a suave admirer, a quiet waitress and Pablo's cold and calculating mother, who knows where her son is and refuses to tell Dean.

As the film unfolds, we learn that these supporting characters - as the formula goes - are not necessarily what they seem. Conveniently, the handful of people that Dean has met in Argentina are all connected to Pablo in some way. For their own reasons, they're each trying to protect his location, much to the frustration of Dean, who gets angrier and more reckless as the film wears on.

For a while, the plot actually keeps the audience engaged, trying to figure out exactly what is going on. But after 30 minutes or so of this cat-and-mouse game, it gets old, and there's still an hour left.

By the end, when all is finally revealed, the house of cards completely crumbles and you feel cheated by the explanation about why Pablo left.

You also feel cheated by Pablo himself. Played by model Antonio Sabato Jr., Pablo is seen for the first hour and a half only in fleeting flashbacks (including one featuring a blink-and-you'll-miss-it nude shot), but you figure that the way Dean is going after this guy, he must be one helluva boyfriend.

When Dean finally finds him, however, Pablo shows no remorse whatsoever for leaving his boyfriend in such a cruel manner. He shows no real signs of a personality at all, actually, which makes you wonder why Dean and every other character in the entire film is so infatuated with him, other than for his looks.

The main problem with "Testosterone," however, is that not a single character, with the possible exception of Pablo's mother, behaves the way people in this particular situation probably would, particularly the main character. He's desperately searching for his beloved boyfriend, but not so distraught that he won't sleep with other men along the way.

Despite being used, lied to and chased by murderous hired thugs, Dean still persists in searching for Pablo; most sane people would just say "screw it" and move on with their lives.

Several supporting cast members do provide some glowing moments in an otherwise lackluster movie. Jennifer Coolidge, best known as Stifler's mom in the "American Pie" movies, is amusing in her small role as Dean's literary agent, while Brazilian actress Sonia Braga brings a cold sexiness to her part as Pablo's mother.

But Sutcliffe never really seems like he understands why Dean is doing the things he's doing, which is probably the reason why the audience doesn't get it, either. Here is a man who, based on the dialogue, at least, is supposedly becoming unhinged by the end of the movie. But Sutcliffe's demeanor never really reflects that.

And as far as Sabato goes, forget it. He may be a pretty face, but an actor he is not. His performance is so bad, you can almost see the stagehand holding up the cue cards just off-camera. -Bryan Moylan

'Sugar' - Oct. 16 at 11 p.m. - Lincoln Theatre - 80 minutes

If the No. 1 gay film clich pertains to coming out, No. 2 has to be the gay hustler film. There certainly have been a lot of them. "Sugar," a Canadian film, is the latest of the genre and really offers nothing new. The most remarkable thing about this film is its leading man, Andre Noble. It's his last film of a very short career. Noble died in July after ingesting the sap of the poisonous monkhood plant in Nova Scotia. His previous film was a supporting role in another gay hustler movie, "Twist." Noble, who plays the role of Cliff, has a sweet and adorable persona that sucks viewers into the film. But the plot makes no sense.

Cliff turns 18 and heads out looking for love. That's when he meets Butch, a male hustler. Butch seems to return Cliff's affections, but has convinced himself he's only gay for pay so he won't give Cliff what he wants. I know it's Canada, but having a drug-dealing younger sister and a mother who you can talk to freely about your hustler boyfriend is a little too much. This family is a social conservative's worst nightmare. And be warned, there is a rape scene in this film that is quite disturbing.

'Haunting Douglas' - Oct. 17 at noon - DCJCC - 76 mins.

Unless you're a huge fan of modern dance, you probably haven't heard of gay choreographer and dancer Douglas Wright. And if you aren't a huge fan of modern dance, you probably shouldn't see this documentary encapsulating his life and work. Living with HIV in his native New Zealand, Wright and others portray him as the classic emotionally unstable artist, grappling with drugs, drinking and depression in order to achieve his aesthetic vision. It's like a "Behind the Music" but about a dancer, and Wright's pomposity does little to inspire the audience's sympathy. What he does provide are some stellar performances, thanks to archival footage of his many projects. His herky-jerky motions might be a little much for some, but when he isn't feigning paroxysms, his innovative movements are awe-inspiring.

'The Day Laborers' - ('Los Jornaleros') - Oct. 17 at 2 p.m. - DCJCC - 90 min.

Lane Shafter Bishop's "The Day Laborers," illustrates the beauty inherent in the complex relationship that exists between three Mexican immigrant cousins who travel illegally to Los Angeles.

Tura (Ricardo Molina), Pillo (Jose Caro), and Quique (Andres Salcedo) sneak across the U.S.-Mexico border based on their thirst for the American Dream. Blinded by dreams of wealth and status, the trio is unprepared for the myriad challenges that await them. It is through the hardships, however, that they not only discover their place in U.S. society but also how to truly accept each other despite their differences.

The film begins with an attack on Pillo, which effectively foreshadows the trials and tribulations the men will face. After the death of Pillo's mother, they make a pact, pledging to always be blood brothers, an act that imbues these characters with an almost childlike quality.

With nothing physically tying them to Mexico, they head to L.A, where Turas's optimistic uncle, Gilberto, takes on a maternal role. He introduces the men to the life of day laborers. The hard work, coupled with the exploitation they experience at various jobs and the threat of unemployment, quickly disillusions them.

Viewers witness the unpredictable nature of the day laborer's job; its undulating rhythm makes it impossible for the three brothers to obtain any real financial security.

Out of desperation, each brother searches for an alternative way to survive. Aroused by the fast money the illegal drug industry produces, or seduced by the caress of new clothes that a woman gives, the men fall to various temptations.

"The Day Laborers" also focuses on the relationship between Tura and Maria, a Mexican immigrant whom Gilberto also takes in, and that of Quique and Wes, an art gallery owner.

Through his relationship with Wes, Quique discovers his sexual feelings for other men. The gay couple's relationship also reveals the difficulties that can crop up between two partners with such different backgrounds. Struggling within himself, Quique's insecurities compound the challenges they must face.

Quique and Wes's relationship also gives birth to many conflicts between family members because it challenges the traditional machismo inherent in Mexican culture, as well as their Catholic upbringing.

Although "The Day Laborers" at times seems oversimplified, it is a socially conscious movie that carefully and accurately portrays aspects of the Mexican immigrant experience. The film also highlights the prejudices that gay people endure.

The leading characters appear to be na ve, even innocent, and this embellishes the romanticism that surrounds their idea of the American Dream. A diverse soundtrack, which ranges from modern Latin to opera, combined with the interplay of English and Spanish languages in the film, set a tone that effectively emulates the ups and downs each character faces.

Yet, it is the relationship between the three brothers - their loyalty and camaraderie - that most effectively reveals this film's beauty. As Tura, Pillo, and Quique confront their hardships, they discover not only things about each other, but also about themselves. (Spanish and English with English subtitles) - Ines Rivera

'You I Love' - Oct. 17 at 3 p.m. - Lincoln Theatre - 83 minutes

This is a breakthrough movie as the first positive portrayal of gay characters in Russian cinema. Three misfits find themselves involved in a complicated threesome in this movie billed as a romantic comedy. But Russian humor and American humor are very different.

Advertising executive Timofey meets Vera, a news anchor with an eating disorder, and the two hit it off. Then, Timofey runs into Oloomji, a young man who works at the zoo. He can't seem to get rid of the newcomer and isn't sure he wants to. Vera doesn't know what to make of the relationship between the two. But Oloomji's family does not approve and takes steps to break them up. The most disappointing aspect of this film is what is left unsaid. There is no conversation about Timofey's journey in realizing his sexual orientation. For that reason, it will likely frustrate some viewers. (In Russian)

'Immediate Boarding' - ('Tur och Retur') - Oct. 17 at 4 p.m. - DCJCC - 88 min.

Many have wished, at one point or another, to switch families, but changing genders is a whole different matter. In this Swedish rendition of "The Parent Trap," identical young adults Martin, a quiet sissy, and Julia, a brash tomboy, (both played by Amanda Davin) trade places. Julia visits Martin's single father up North (think Maine) and Martin goes to be a bridesmaid in Julia's mother's wedding down South (think Tampa). The switch not only sets up a delightfully, funny and charming family movie, but also provides commentary on social, regional and gender difference and how easily stereotypes are subverted. Thanks to a great performance by Davin, this film will be a delight for kids and smart fun for their gay parents. (Swedish with English subtitles)

'A Woman's Love' - ('Amor de Femme') - Oct. 17 at 6 p.m. - DCJCC - 90 minutes

The first three-fourths of "A Woman's Love" is quite enjoyable and raises your hopes that this French film will tackle a difficult subject with a soft touch. However, the ending does not deliver on the earlier promise and viewers will likely leave the theater dissatisfied.

Jeanne is a wife and mother who is dragged to a party by her husband, David. Her boredom at the party is obvious to everyone, including sexy dancer Marie. Jeanne and Marie begin on a path that leads to a crisis in Jeanne's life when she realizes her sexual orientation. The journey is slow, which is to the filmmaker's (Sylvie Verheyde) credit. But just as the film begins to tackle the tough issues of dealing with a husband and child while in love with someone of the same gender, it appears the filmmakers ran out of money and rushed to complete the story. If not for that, this would be one of the top films at this festival. (In French with English subtitles)

'Best of Schools' - ('Grande Ecole') - Oct. 17 at 7 p.m. - Lincoln Theatre - 108 minutes

This film will no doubt play before a packed house because of the two shower scenes involving the water polo team. It also has some enticing sex scenes, both straight and gay.

Paul is a student at an elite college, hopelessly in love with his straight roommate while on the side he is seeing a young man from outside his class. Oh, and then there is the conflict with Paul's girlfriend thrown into the mix. If halfway through the film you get the feeling you've seen all this before, it's because you probably have. This film comes off as a French version of the English classic, "Maurice." And it's not nearly as good as the original. (In French with English subtitles)

'Beautiful Boxer' - Oct. 17 at 8 p.m. - DCJCC - 116 minutes

This Thai film is based on the true life story of Parinya Charoenphol, who grew up as a boy named Nong Toom before transitioning into a woman.

It is the second major Thai film to be released internationally that deals with trans issues. However, where "Iron Ladies" (and its sequel "Iron Ladies 2") played the subject for laughs, this is a compassionate film and among the best of any genre to be shown during Reel Affirmations 14.

The movie is told in flashbacks as Parinya explains her life story to an English-speaking journalist. Most of the film is in Thai, and the subtitles come in handy on some of the English spoken.

Nong Toom, played impressively by actual kickboxer Asanee Suwan, is forced into a kickboxing match at a local carnival and surprisingly wins. When his father is unable to work, 12-year-old Nong and his brother join a kickboxing camp to try and earn money to help the family.

It appears the script takes great liberties with the true-life events to heighten dramatic appeal, but this story is intriguing enough to captivate all audiences, not just those interested in transgender issues.

Most of the film is dedicated to the struggle Nong experiences during his teen years, balancing a talent for kickboxing and the desire to become a woman.

When Nong's coach discovers his rising star wearing women's makeup, he asks the boy if this is what he wants. When the boy says yes, he decides to let Nong fight wearing the makeup.

At that point you can guess the reaction by both Nong's opponents and fans. He channels the anger he feels at the ridicule into his boxing, and after winning match after match becomes a hero in Thailand. It eventually leads him to Bangkok for the national championships and loads of media attention.

Suwan does an excellent job balancing the two sides of Nong's nature. He already had the kickboxing skills, but he shows skills as an actor by convincing the audience of Nong's feminine side. Suwan won the Thai equivalent of an Oscar for this performance (Thai Supannahongsa Best Actor Award).

It's in Bangkok that the climax comes where Nong decides to begin the transition into being a woman. He begins the hormone treatments and starts to lose his strength, which hurts the kickboxing career.

The movie takes a strange detour when Nong takes a trip to Japan to fight as a circus act in order to get enough money to complete the transition. It concludes when Nong, now Parinya, makes her debut as a woman at a boxing event.

Today Parinya is an actress and model in Thailand. The kickboxing scenes should please any action fan but the movie still offers something for fans who like more complex characters than you normally find in a martial arts film.

This is an excellent film from first-time filmmaker Ekachai Uekrongtham (who shares screenwriting credits with Desmond Sim Kim Jin). Yes, there are some scenes that go a little overboard on the camp and melodrama. But the strong story and captivating performance will keep you in your seat. - Ken Sain

'Best of the Fest' - Oct. 17 at 9 p.m. - Lincoln Theatre - 121 minutes

Includes a pair of fractured fairy tales with Jane Lynch. In "Little Black Boot," Cindy bears modern suburban drudgery - psychological torment from her step-mom and -sisters. Her best friend steps in as a magic fairy to transform her from her soot-like makeup into a handsome suitor, and wins the prom queen's heart. And in "Memoirs of an Evil Stepmother," Snow White gets a modern twist in Los Angeles, where saving face takes on new meaning. Nothing is lost in the translation of the Bulgarian cartoon "Blue-Eyed Moon," where the only vocals are the soft moans of a nymph. A fish morphs into a vagina, a ladybug into a nipple, a tree into a human face, in a gentle exploration of sexuality and nature.

'Local Filmmaker Forum' - Oct. 18 at 6 p.m. - DCJCC - 42 min.

It shouldn't surprise anyone that D.C. is a documentary town, at least that's the way it's portrayed in this evening of short films made by local artists. "barefeet," by Richmond's Sonali Gulati, beautifully illustrates the displacement of being a South Asian lesbian living in the United States. Animated "Booty Dance" takes a funny concept - why gay men and lesbians can't share a dance floor - to scientific extremes, but is eventually too smart for its own good. "Brian: The Gnome Slayer" is a campy gay spoof of everything from "Buffy the Vampire Slayer" to "Wonder Woman," which will make you chuckle, even if the plot makes no sense. "Speaking Our Minds" about D.C.'s spoken word night mothertongue and "Women's Rugby, Women's Voices" about D.C.'s Furies rugby team, are both informative, well-intentioned documentaries made in a classic style.

'Callas Forever' - Oct. 18 at 7 p.m. - Lincoln Theatre - 108 min.

Before Madonna, Cher and Liza, there was Maria Callas, the temperamental diva and icon of opera queens everywhere. In this fictitious imagining of her final project, her gay friend and manager Larry Kelly (Jeremy Irons at his best) convinces the star (played with amazing believability by French actress Fanny Ardant) to come out of hiding to make a film version of the opera "Carmen." Gay director Franco Zeffirelli, rather than just making a movie about his friend and colleague Callas, turns the story into a treatise about the creation of art, the price of fame and the influence of celebrities on the gay psyche. The sights and sounds of "Carmen" are a spectacle unto themselves, but the beauty and complexity of the characters is the real attraction. Opera queens will swoon; everyone else will be amazed.

'Sci-Fi Fag Theater 2004' - Oct. 18 at 9 p.m. - Lincoln Theatre - 96 min.

This collection of short films mixes two genres - science fiction and gay - with some interesting results. The best of the bunch is the one that has the least sci-fi connection, "Paradisco."

This delightful French short takes a modern-day teen back to New Year's Eve 1979, when disco was still king and queen. It makes a powerful statement without being over the top. The rest of the program does not measure up to that standard.

"The Milkman" is one of the few films to look at the chubby chaser subset of the gay community. However, it does so with stereotypes and disturbing images that will make any chub or chaser uncomfortable watching it.

"Tempting Fate" is an interesting turn-the-tables tale of a fortune teller seeing love in the cards for one of his clients. "Oedipe(n+I)" is a futuristic story that has a mother constantly reinventing her son until she can knock the gayness out of him. It is probably the most thought-provoking of the program. The other short film is "Tomo," the story of a man stranded with only a robot for a companion.

'The Ski Trip' - Oct. 19 at 7 p.m. - Lincoln Theatre - 86 minutes

Writer/director and star Maurice Jamal is scheduled to attend this screening and answer questions after the film ends. This is one of a handful of gay movies at Reel Affirmations 14 with a largely African-American cast. (Others include "Brother to Brother," "Black Aura on an Angel," "Noah's Arc," "Naked Truth 3," and "Butch Mystique," a delightful 35-minute short film by Debra Wilson that is to be screened at the DCJCC on Oct. 19 at 7 p.m.)

In "The Ski Trip," Corey Brown (played by Jamal) is celebrating his 30th birthday by hiding in bed. He's disappointed at how things are going and his friends are trying to cheer him up. So, they take a trip to the mountains where many issues come to a head and work their way to resolutions. Some of the characters are clich s, but many of the actors are attractive. And despite the predictability of the plot, it's an enjoyable film.

'Harry and Max' - Oct. 19 at 9 p.m. - Lincoln Theatre - 74 min.

This turkey proves that taboo content will only get you so far. A tale about two brothers who start a sexual relationship. But the shock isn't that it's about incest, the shock is that the movie is so bad, amateurish, trite, disorganized, unbelievable and poorly acted that the incest isn't shocking at all. Oh, and don't forget that the brothers are both supposed to be famous boy band singers. That's not shocking - it's silly. The real humdinger is that "Knots Landing" alum Michelle Phillips agreed to play the boys' pushy stage mother. Shown with the equally abysmal "Reunion," whose only asset is its attractive cast.

'Naked Truth 3' - Oct. 20 at 6 p.m. - DCJCC - 60 min.

This, essentially, is an extended public service announcement about what it's like to be black, gay, lesbian or HIV-positive today. Local filmmaker Michael Joyner interviews a number of D.C. sources - including Us Helping US president Ron Simmons and several youths from the Sexual Minority Youth Assistance League - and presents compelling and varied views on the subject. While the interviews are all very interesting, two things drag this documentary down. The first is a lack of an alternative viewpoint, such as parents who were less accepting of their children. But more important, this film offers nothing new to what presumably will be a mostly gay audience. Most of us already know this story and the pain all too well.

'Clara's Summer' - Oct. 20 at 7 p.m. - DCJCC - 86 min.

How bad could it be to be a beautiful young French woman spending the summer at water sports camp with other teenagers? The intimate nature of Clara's relationship with her best friend, Zoe, quickly becomes complicated.

Zoe reminds Clara of their promise to lose their virginity while they share a bubble bath: "We said we'd do it together." But after Clara rejects Zoe's advances, Zoe gets involved with a boy and his clique.

Clara, who generally prefers to hold her breath under the sea rather than join in the group activities, pushes herself to find new relationships. To her own surprise, she prefers girls. (French with English subtitles)

Farm Family - Oct. 20 at 7 p.m. - Lincoln Theatre - 104 min.

This quirky documentary explores an ignored minority in the gay community: people who live in rural America. "Farm Family" profiles gay men living in various parts of the country, ranging from dairy farmers to rodeo participants to a pair of men who live in an antiquated farm in eastern Pennsylvania. While the film seems a bit disjointed, the individual variations on the theme are usually fairly interesting, particularly because gay life is almost always depicted in an urban setting.

'Friends or Lovers?' - Oct. 20 at 7 p.m. - Lincoln Theatre - 104 min.

This collection of short films explores the twists and turns of romantic entanglements and nearly all of them involve someone with whom they are not currently involved. In "Ritchie's Itch," a straight construction worker isn't getting any sleep at night because when he does doze off he dreams of having sex with a man and is disturbed by what it might mean. "The Turning Circle' is an Aussie product about the aftermath of a m nage-a-trois with two men who both have girlfriends. "Stag Party" explores the night a gay man threw a stag party for his best friend - who he has a crush on. Here's a hint, nobody remembers what happened the night before. In "Spokane," a gay man attends his brother's wedding and feels out of place, until a bear of a man approaches him. "Presents" is another three-way movie. A gay man makes dinner for his lover and best friend. The most intriguing of the movies is "L'Ultima Notte," a French short. There's little dialogue but a lot of emotion in this story that reveals a dirty secret. The final short film, "W," is not political. It is about two lovers and what happens when one of them gives more attention to the pinball machine than her lover.

'Illusive Tracks' ('Skenbart') - Oct. 20 at 9 p.m. - Lincoln Theatre - 100 min.

The old clich "there's something for everyone" doesn't begin to describe "Illusive Tracks." This black-and-white Swedish movie follows different passengers on a train immediately after the end of World War II. A delightful blend of genres, including farce, suspense, slapstick and romance, this film easily vacillates between a man's plot to kill his wife, the comic misadventures of a writer and an old, bitter gay couple trying to tolerate each other. Whether you want thrills and chills or deep belly laughs, "Tracks" is an intelligent, inventive, deeply satisfying movie in a class all its own. (Swedish with English subtitles)

'Kiss and Tell' - Oct. 20 at 9 p.m. - DCJCC - 126 min.

This program of shorts for women deals with the complexity and hilarity of lesbian love, in all its stages. "Crush" does a good job depicting a budding romance in a difficult situation. The mediocre "Risk" shows the difference between relationships old and new. The funny "Sex and the City" parody "Butch in the City," starring stand-up comic Julie Goldman, does a great job skewering both the show and urban lesbian culture. Remarkably like "Sex and the City," Canadian "Out for Bubble Tea" pits a woman's Chinese family against her relationship with her girlfriend. "Xmas Past" deals in a moving and funny way with the hardship of starting a new romance after a lover has died. "On the Shelf" addresses the intersection of love and literature. And the delightful "Leave It," probably the best of the bunch, is about women, their dogs and falling in love.

'Growing Up is Hard' - Oct. 21 at 6 p.m. - DCJCC - 52 min.

The three short films in this collection have one common theme: the difficulty of growing up gay. The first short, "Jared: Puberty in Pink," focuses on a boy who is coming to terms with his gender identity - he likes to dress in his mother's clothes and makeup - and his sexual orientation. The second, "A Different War," is a compelling look at a young Israeli boy who is also dealing with his feelings of "otherness," and who receives his fair share of taunting from his classmates and older brother. The last film, "Fairies," tells the fantasy of one high school boy who magically turns all of his homophobic peers into gay boys themselves. "A Different War" is definitely the best of the bunch, although it would have been nice to see a young lesbian dealing with coming out issues as well.

'Brother to Brother' - Oct. 21 at 7 p.m. - Lincoln Theatre

In "Brother To Brother," director Rodney Evans delivers a powerful and compelling narrative that explores social mores in the modern gay culture juxtaposed with the rich and artful period known as the Harlem Renaissance.

"Brother To Brother" follows the emotional and psychological journey of Perry Williams (played by Anthony Mackie), a young black gay art student who is thrown out of his parents' home after his father sees him kissing another young man. Mackie had roles in "8 Mile" and, earlier this year, in Spike Lee's forgettable "She Hate Me."

Perry's problems are compounded by the contempt and hostility he is subjected to from one of his fellow classmates. Evans, who is scheduled to appear at this screening, turned to his own life experiences to develop his protagonist.

"Although Perry is a fictional character, some aspects of my early adult life can be found in the character's experience," he recently told the Houston Voice, an affiliate of the Washington Blade. "Like Perry, I also developed a sense of purpose through my coming out process."

Despondent over his parent's rejection, Perry struggles to survive on his college scholarship and by working at a homeless shelter where he encounters Richard Bruce Nugent (played by Roger Robinson of "Seven Guitars"), an elderly gay man who Perry discovers is an accomplished poet. Nugent was the gay author of the autobiographical narrative in 1926titled "Smoke, Lilies and Jade."

In the film, through flashbacks in black and white, Nugent tells the history of the Harlem Renaissance, a rich cultural period in American history where black artists thrived and prospered in the New York neighborhood. Among the literary characters from that period who are portrayed in the film are Langston Hughes, Wallace Thurman and Zora Neale Hurston.

Perry begins to recognize this era as his own history. He sees the pride that Bruce exuded in those times in terms of being black, gay and proud.

The older man's pride and self-esteem begin to have an empowering effect on Perry as he gains a stronger sense of his identity. As the story progresses, we also witness the transforming power that the men have on each other's lives through their shared passion for art and storytelling.

Evans began working on "Brother To Brother" more than six years ago.

"The idea of the script began when I started to think about different present-day experiences that I was having from a larger historical perspective," he said. "This led to my research into the Harlem Renaissance and Bruce Nugent at the Schomburg [Center for Research in Black Culture] in Harlem. The more I learned about Nugent, the more fascinated I became."

Over the next two years, Evans was awarded numerous residencies at various art colonies around the country, including Yaddo in New York, Centrum on Washington's Olympic Peninsula and the Virginia Center for the Creative Arts.

During this time, he wrote several versions of the film script. These scripts were inspired by a vast amount of research he conducted about the Harlem Renaissance.

Some of the historical material included David Levering Lewis' "When Harlem Was In Vogue" and "A Spectacle in Color: The Lesbian and Gay Subculture of Jazz Age Harlem." However, the work that influenced Evans the most was "Infants of the Spring" by Thurman.

"This is Thurman's autobiographical novel about the subversive artistic community that thrived in the house known as 'Niggeratti Manor,'" Evans said of the creative headquarters for Wallace, Hughes, Hurston and Aaron Douglas.

Evans also conducted several interview with Thomas Wirth, a scholar on African-American literature.

"Wirth gave me access to over 30 hours of taped interviews with Bruce Nugent and an anthology of Bruce's art and writing," Evans said. "A great deal of this material was dramatized and incorporated into the script."

"Brother to Brother" draws parallels between the early phases of Nugent's life and the life of Evans' fictional character, Perry. Evans said he structured the script around the relationships of black gay men to highlight the nuances and contradictions of these relationships realistically. "Brother To Brother" was awarded the Vito Russo Award at NewFest 2000 and a Special Jury Prize at this year's Sundance Film Festival. Evans also received the Independent Feature Project's Gordon Parks Award for Screenwriting for the screenplay.

Although centered on black characters, Evans says he hopes "Brother To Brother" is embraced by all cultures.

"I believe the quest for a meaningful identity and an original and truthful artistic voice is a universal theme that resonates on a global level," he said. -Alton La Day

'Crimes and Passions' - Oct. 21 at 7 p.m. - DCJCC Theater - 96 min.

Ever see a movie and wonder what it would have been like if it had a better budget? In this mix of short films, that is the predominant question. By inserting lesbians into a bunch of genre films, nearly all of them are incomplete, needing more production, story development, and, probably, money to make them work. The only complete film "Memoirs of an Evil Stepmother" transplants "Snow White" to modern Hollywood. "JAM," where a lesbian couple delivers their baby with a group of convicts in the middle of a traffic jam, is not only horribly implausible, but also needlessly sentimental. Throw some lesbians in a serial killer-versus -cop drama and you have "Intent." "The Rules" would be a great thriller given some fleshing out of the plot. Nothing in the impenetrable "Passageway" makes sense. "A Woman Reported..." is a great short subject, if only it didn't steal its trope from a famous short story.

'Poster Boy' - Oct. 21at 9 p.m. - Lincoln Theater - 95 minutes

This is a very timely film with the outing fever that has been the talk of Capitol Hill this summer. An AIDS activist, Anthony, picks up an attractive college student at a party he crashed. Later, he learns his one-night stand, Henry, is the son of an anti-gay Republican senator from North Carolina. And since the senator is facing a very tough run-off election and has decided to use his attractive son to reach out for the youth vote, Anthony considers outing his trick and exposing his father. This is a strong film but it has a few problems. First, using a reporter to recount the story, which is told in flashbacks, doesn't ring true. Second, the coincidence of the gay activist and his gal pal both appearing at a critical moment in the film stretches believability way beyond reason.

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