“Gay Men at the Millennium: Sex, Spirit, Community‬‪” edited by Michael Lowenthal— An Anthology of Gay Men’s Writing

gay men at the millenneum

Lowenthal, Michael (editor). “Gay Men at the Millennium: Sex, Spirit, Community‬‪”, Jeremy P. Tarcher/Putnam, 1997.

An Anthology of Gay Men’s Writing

Amos Lassen

While browsing today at Calamus Bookstore in Boston (one of the few LGBT bookstores left in America), I came across this collection edited by Michael Lowenthal, one of my favorite writers and a real mensch and as I browsed the contributors, I knew I had to have it, dated as it is.

”Gay Men at the Millennium” is a provocative and insightful compilation of writings by gay authors on sexuality, spirituality, family, and politics. The contributors describe the “state of the community” as it enters the twenty-first century, and examine, clarify, and define those issues that will shape its future. Gay culture in America is at a turning point (have we turned it yet. Assumptions within the community that have held true for years are being questioned, while outside the community, decisions carrying major consequences are being weighed by the courts, legislators, and media. The spectrum of concerns raised by these debates is the crux of a forum whose participants include: Tony Kushner * Michelangelo Signorile * Andrew Sullivan * Michael Bronski * Fenton Johnson * Harry Hay * Mark Doty * Bruce Bawer * Andrew Holleran * John Weir * Mark Matousek * Jesse Green * Rafael Campo * Keith Boykin * James Earl Hardy * Gabriel Rotello * Bernard Cooper * Frank Browning * Craig Lucas * David Bergman * Rabbi Yaakov Levado (Rabbi Steve Greenberg) and many others. The list reads like a Who’s Who in gay literature. This is a passionate and intellectual commentary on today’s gay movement and its future (some of which has already happened) since this was published before the granting of so many gay rights including last week’s decision by the Supreme Court of the United States which said that gay people can marry in every state of this country and that marriage will be legal.

“Time on Two Crosses: The Collected Writings of Bayard Rustin” edited by Devon W. Carbado and Don Weise— Openly Gay

time on two crosses

Carbado, Devon W. and Don Weise (editors). “Time on Two Crosses: The Collected Writings of Bayard Rustin”, with a foreword by Barack Obama, Cleis Press, 2015.

Openly Gay

Amos Lassen

Martin Luther King, Jr. learned the strategies of nonviolence during the Montgomery Bus Boycott in 1956 and launched thereby launching the civil rights movement. He learned them from Bayard Rustin, one of the founding fathers of modern black protest who later reached international notoriety in 1963 as the openly gay organizer of the March on Washington. Rustin’s leadership began long before that historic march and he was at the vanguard of social protest. However, the fact that he was openly gay and embraced his gay identity was a point of contention within the movement and involved King, himself.

“Time on Two Crosses” gives us a look at many defining political moments of our time. “From Gandhi’s impact on African Americans, white supremacists in Congress, and the assassination of Malcolm X to Rustin’s never-before-published essays on Louis Farrakhan, affirmative action, and the call for gay rights, Time on Two Crosses chronicles five decades of Rustin’s commitment to justice and equality”.

The book spans fifty years of protest. This new edition includes new material and is a treasure for anyone who cares about the rights of the individual. Rustin was ahead of his time in many of his beliefs. The book is a collection of his writings and takes us into not just issues of race, class and discrimination but what it should mean for all of us to look for areas for us to come together. Rustin was able to almost fearlessly announce his beliefs in such a way that it is impossible to deny why he’s important to know. Reading this encourages us all to be the best of who we were created to be.

Two scholars, Devon Carbado and Don Weise, who have done much to open space for black gay studies continue this by compiling some of Bayard Rustin’s most famous speeches. The book starts with a well-done biography of the leader. We then move on to speeches on a range of issues which show how thoroughly ahead of his time this Rustin was.

Because of homophobia and domination by the Far, Rustin was often silenced and marginalized. However, he was a feisty figure but he was not going to go at it with the powers that were. who also wasn’t afraid to butt heads with top dogs. Rustin was a highly opinionated man and he see him shatters myths that were erroneously held for generations.

He stood at the forefront of issue that were far beyond just his race and sexuality. He spoke about feminism, international affairs, pacifism, labor rights, etc. Rustin was personally meek, but his circumstances weren’t. He was a gay black man who was marginalized by the Civil Rights movement he helped found but he did not let that embitter him. He never failed to come down on the proper side of a moral or ethical question, no matter whom it may offend or support. Bayard Rustin felt that his homosexuality, of which he was quite open, put him in a unique position. Placed in a minority at the bottom of every other minority, Rustin was engaged in the doing away with prejudice while suffering it himself. His gentle words place no blame, instead he understands.

This book properly places Rustin within his times and shares the story of this complex and important historical figure. His writings on homosexuality are as important and as insightful as his writings on civil rights. Besides being a great strategic leader, he was really a great philosopher who lived his philosophy. Much of what he said about violence, politics and nonviolent protest are still totally relevant today.

Rustin was a movement strategist par excellence and he knew how to share that strategy. If I had to say in just a few words what his greatest legacy was I would say, “educate and agitate and never give up!”

“STORIES OF OUR LIVES”— Kenya’s LGBT Community

stories of our lives

“STORIES OF OUR LIVES”

Kenya’s LGBT Community

Amos Lassen

“Stories Of Our Lives” is a collection of five short films about the experiences of gay and lesbian men and women in Kenya. The stories are based on real interviews and give a personal insight into the reality of being gay in Kenya. The central emotion, as we can imagine, is fear and while this is not necessarily unique to Africa, but there are other shocks here that include questions asked that are personal, blunt and intrusive. We also see archive footage of demonstrations against “gayism” and its promotion in Kenya. There are others themes that recur such as the threatening knock at the door, escape, intimacy behind closed doors What makes this such an important film is that it is basically all we have from the “dark” continent, a place that is plagued by homophobia and repression of the human will. Director Jim Chuchu is to be commended for taking us into the lives of gay and lesbian Kenyans in this film. The fact that the documentary is shot in black-and-white emphasizes the issues that our African brothers and sisters have to deal with. Some of what we see here includes a high-school lesbian couple that is divided by societal pressures; a gay man falls for a straight best friend; buddies turn into enemies when one visits a gay club; a Kenyan researcher hooks up with a white male sex-worker for the first time; and a lesbian couple fantasizes about how to deal with an encroaching LGBT witch-hunt.

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Throughout the film we are reminded of the omnipresent struggles that queer Kenyans face in their daily lives. Homophobia is institutionalized in Kenya. The film comes to us from The NEST Collective, a Nairobi-based multidisciplinary arts collective–a confederation of ten artists who have claimed the transformational mission to challenge and dissolve myths and norms of Kenyan identity. They went around the country compiling the experiences of LGBTQI people as a first step toward breaking the silence enforced on queer people. They collected some 200 interviews that became a mosaic of five dramatic vignettes in which the filmmakers forge powerfully intimate depictions of identity “under siege and that poignantly call out ignorance and intolerance”.

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“Ask Me Nicely” is about a lesbian high-school relationship under both abnormal and normal pressures. Kate is a rebellious young high school student who meets first-love Faith, a fellow student. When they are separated by school authorities, Kate impulsively has a sexual encounter with a boy in her neighborhood. Two weeks later, Kate and Faith have an awkward reunion.

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“Run” depicts the perennial danger in Kenya of being perceived as gay and pushes the main character to decide whether or not he’ll keep running. After negotiating a business deal, Patrick stumbles upon a local gay bar with his homophobic best friend, Kama.

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Longtime friends in “Athman” struggle with the awkward tensions that arise when one guy declares his unrequited feelings. Farm workers Ray and Athman have been close friends for years. Hurt by Athman’s flirtatious relationship with newcomer Fiona, Ray has to make a difficult choice.

“Duet is about an interracial encounter in a UK hotel room, is the only story set outside Kenya’s borders. Jeff is waiting in a hotel room far away from home. He has been saving for months to fulfill his ultimate fantasy of having sex with a white guy. Finally, there is a knock at the door.

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“Each Night I Dream” looks at a lesbian couple who opt to finesse their cohabitation by passing as sisters. When local legislators threaten to enforce anti-gay laws, mobs gather to evict people suspected of being homosexuals. As tension in their neighborhood increases, Liz visualizes dramatic escape plans for herself and partner Achi. returns to the club for a night out, hoping no one will find out

The Film Classification Board of Kenya restricted the exhibition of the film for “promoting homosexuality, which is contrary to our national norms and values.” We see here what it means and what it takes to be part of the LGBT community in Kenya. We see the struggles that come to those who choose to embrace their sexuality in a notoriously homophobic environment. Through this film, they are given a chance and a way to construct stories of love, pain and rejection and also of hope and strength.

This is an important story to tell. The filmmakers and the actors put themselves in very real jeopardy to make this film and come out about their sexuality and this adds to the significance of what we see. “It is not only a wonderful piece of art, but a stand of defiance and a mode of protest”.

“CAMPFIRE”— Scouting

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“Campfire” (“Kampvuur”)

Scouting

Amos Lassen

 Handsome Tijl has a crush on Wout. While Tijl is the quiet, serious, sensitive one Wout is the clownish and uninhibited one who frequently acts without thinking. When Wout decides he’s curious about boy on boy sex, he awakens in Tijl more than he counted on or wanted. I love films that portray the innocence of youth and what better place to do this than on a camping trip (the stuff fantasies are made of). Here we see how European teens react to that first time and it is so different than what we see here with repressive values that still affect us today much more than they affect our European cousins. (But that is quickly changing now that being gay is okay).

Bavo Defurne’s “Campfire” beautifully photographed short portrays the emotions it touches on. I just wish the story went on longer. This is basically a coming out story, but essentially it summarizes many itches of love and relations. Settings, sound, music are all economically used, but without being minimal and boring. Cinematography is brilliant, and so is acting.

“AYN RAND: A SENSE OF LIFE”— Ayn Rand and Individualism

ayn rand a sense of life

“Ayn Rand: A Sense of Life”

Ayn Rand and Individualism

Amos Lassen

Close to 40 years after her death, Rand’s books, which also include “Atlas Shrugged” and “We the Living,” continue to sell over 100,000 copies a year. And they’re not light reading. They preach uncompromising individualism and free-market capitalism.

Originally released on 1997 and now available for the first time on blu ray, the early part of “Ayn Rand: A Sense of Life” explains how Rand came to her philosophy. Her prosperous merchant family was persecuted by the Bolsheviks in their native Russia. In the midst of the political turmoil of her childhood, Rand took refuge in adventure stories and American movies. America became for her, the ideal country, and a place of rugged individualists making their way in a free society. We hear revealing excerpts from her letters and diaries in which she dreams of a life away from the Soviet Union and learn of her great happiness when she finally arrived as in New York. A series of coincidences brought her to the attention of Cecil B. DeMille and she began a career in Hollywood.

As the documentary progresses, Rand (the most widely read social and economic philosopher of our time) becomes a more enigmatic and distant figure, even with the many TV appearances she made towards the end of her life. The facts of that life continue to be told in an orderly fashion, but her inner life remains a mystery and I found this to be frustrating.

The talking heads that discuss her life and her work have nothing but praise for her. We hear no negativity about her with the exception of her appearance as a friendly witness before the House Un-American Activities Committee, but this is a film that emphasizes the positive aspects of her life and philosophy.

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This is the first authorized film about the life and work of controversial Rand. It was written, produced and directed by Michael Paxton and was nominated for an Academy Award.  Narrated by Emmy® Award-winning actress, Sharon Gless, the documentary is based on Rand’s personal papers and public archives and film combines fact, dramatizations and an intimate weave of interviews with Leonard Peikoff (Ayn Rand’s intellectual heir), television journalist Mike Wallace and others. We see rare photos, film footage and an original film-noir scene from her 1934 play, IDEAL.  The themes of Rand’s life—reason, rational selfishness and political freedom are felt throughout the film. 

It was in 1926 that Rand came to America and she spent the rest of her life here. It was not until her success on Broadway with her play “Night of January 16” that she became regarded as a writer to read and to watch. The play is a courtroom drama in which the members of the jury are chosen from people in the audience each night and there were two separate endings and this kept interest and ticked sales high.

Rand defined her philosophy as “a religion, an obsession or a mania, all of these expressed in one word: individualism” which she embodied totally. Her cult following came out of her literary success and her hatred of collectivism.

Rand, adopted atheism at age 12, as a child, and “had no interest in approval or acceptance from her parents or others.” She saw herself as an intellectual early in her life and she was so self-assured that she once told a college professor that “My views are not yet part of the history of philosophy. But they will be.”

Rand was born Alice Rosenbaum and later took Ayn Rand as a stage name. She loved operettas and was also fascinated by American movie stars, with an early interest in Gary Cooper that probably influenced how she shaped Howard Roark, the arch-defiant architect in “The Fountainhead.” When she began to work for DeMille, she found the confidence to use Hollywood as a philosophical platform.

Here. Rand is clearly shown as the best and most articulate champion of Objectivism but the film’s glimpses of her in mid-debate are fairly rare. Instead, much time is spent with acolytes like Dr. Leonard Peikoff (identified by a title as “Ayn Rand’s intellectual heir”) and Cynthia Peikoff (identified as “friend and secretary of Ayn Rand.”)

This exceedingly loyal group includes one admirer who says he couldn’t sleep for two days after hearing Ms. Rand speak, and there are many other awe-struck descriptions of her brilliance. This look at Rand will probably be best appreciated by those who ask no questions and share that point of view. Rand died in 1982.

“IN THE HOUSE”– Voyeurism and Literature

in the house

“In the House” ( “Dans la maison”)

Voyeurism and Literature

Amos Lassen

François Ozon attempts to depict voyeurism and literature as a form of both life force and desperation. Despite the film’s murky and turbulent underbelly. Having spent the summer reading Schopenhauer, pompous high school literature and composition teacher Germaine (Fabrice Luchini) welcomes the new school year with a pessimistic attitude concerning the state of education. Growing further disillusioned by yet another class of underachieving adolescents who cannot seem to write a cohesive essay about their summer, Germaine marks up every paper with red ink and sarcastic remarks—except one. That essay was written by a shy, blond boy, Claude (Ernst Umhauer) who always sits in the back of the class, and whose prose strikes Germaine because of its fluidity, confidence, and curiously pointed observation. Claude wrote about what he saw when he visited the home of one of his classmates and he asks, “What’s a perfect family’s house like?” He then surveys the smells and society-proscribed roles of an archetypal French middle-class family.

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Claude’s drafts, grow more intrusive and subversive—yet Germaine still possesses a curious hunger to hear more of the Claude’s stories. But is the boy actually pursuing the provocative actions toward the family he describes, or is it all just made up? Germaine’s wife, Jeanne (Kristin Scott Thomas) is a curator at a contemporary art gallery and is fascinated and consequently troubled by her husband’s interest in Claude’s prose. They were once an erudite couple who exchanged lively barbs during a discussion of whether art and literature actually teaches us about life, but now Jeanne is feeling distance: “All you care about is that family.”

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If Claude impishly takes aim at the functional banality of a middle-class family, Ozon snidely targets bourgeois institutions of literature and contemporary art that he says we let define our lives and the way we see the world. And, like Claude, Ozon wants us to have fun as he plays with your minds. The cast does well at humanizing their roles, but what we get is a unique view of the writing process.

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Claude comes from a lower economic standing than his classmate Rapha (Bastien Ughetto) whose family and house he writes about and he is fascinated by Rapha’s mother, Esther (Emmanuelle Seigner), a bored housewife. Germain shares Claude’s essays with his wife Jeanne (Kristin Scott Thomas), a woman with an art gallery in danger of going out of business, and they both become voyeurs themselves into Claude’s continued writings of the family, which Germain encourages. Then everyone starts to get uneasy when Claude’s writing about weekend proclivities with Rapha’s family become more and more unhealthy, and though Germain assumes that Claude is only using the scenario as inspiration, he suspects Claude may indeed be only “writing what he knows.” Meanwhile, Germain’s relationship with his wife finds itself spinning out of control as Jeanne is convinced he is attracted to his young pupil.

“PHOENIX”— Identity, Loss and the Search for Answers

phoenix

“Phoenix”

Identity, Loss and the Search for Answers

Amos Lassen

Nelly Lenz (Nina Hoss) is a Jewish singer who survived the concentration camps. She had been badly disfigured and had to have facial surgery and has not returned to Berlin with her friend, Lene (Nina Kunzendorf) and she has only one thing on her mind— finding Johnny (Ronald Zehrfeld), her musician husband in the ruins of the city. She wants to know if he still loves her and if he betrayed her to the Nazis, as Lene claims he has. She does meet him but Johnny does not recognize her. Worse, he asks her to impersonate… Nelly, with a view to grabbing her inheritance.

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Christian Petzold’s “Phoenix” is a look at identity, loss and the search for answers in post-WWII Berlin. “Phoenix” demands a certain generous suspension of disbelief that may be more than some audiences are willing to do. Johnny and Nelly are a kind of doomed couple torn apart by the times in which they live. Nelly, made it out of Auschwitz alive, but with a badly disfigured face from a gunshot wound). Accompanied by her friend Lene, a clerk in the Hall of Jewish Records, she travels to a clinic for reconstructive surgery, where she’s told that she can choose any sort of face she wants. Nelly stubbornly insists that she wants to look just as she did before the war, when she was a popular singer, and married to Johnny, a German piano player who may have betrayed Nelly to the Nazis to save his own skin.

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In the nightclub that gives the movie its title, Nelly finds Johnny, working as a busboy. He does recognize her but he does notice a bit of resemblance, enough to make him think that this new Nelly might be useful to him in claiming the “dead” Nelly’s family inheritance. This is where we have to suspend belief because we see that Nelly looks so much like she did before the war that is hard to believe that her own husband does not see it. While Nelly tries to reclaim a lost past, Johnny runs in the opposite direction, trying to wipe the record clean of what he was really up to during the war. In between the two of them stands Lene,

who dreams of emigrating to Palestine together with Nelly and starting life anew. The movie also deals with clashing ideologies and coping strategies and these are far more than the inheritance plot and the question of when, if ever, Johnny will come to discover Nelly’s true identity. Director Petzold is a gifted storyteller and he keeps those twists and turns coming and building to a climax that is perfectly orchestrated.

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As Nelly, Hoss with the emotions and every movement is open to many possible interpretations. Just as Petzold has orchestrated his plot so Hoss has orchestrated her movements. She does so much while seeming to do so little. Hoss channels her character’s deep physical and psychological wounds through a series of painstaking gestures, staring out at us like a deer caught in the headlights over and over again. As Nelly comes into her own, transforming into the woman who existed before disappearing in the camps, Hoss literally finds a new voice – culminating  in an explosive final scene that’s as perfect as they come, as if Petzold had built his entire movie around that one moment. She also gives us the part of Nelly that still loves Johnny, no matter his culpability in her fate, and that maybe always will. Zehrfeld doesn’t invite much sympathy on his own, playing Johnny (very well) as a survivalist whose morals point towards the path of least resistance. Kunzendorf as Lene makes her the most tragic character—we see her as a woman profoundly haunted by the specter of the war and by long suppressed desires and when she is onscreen, the film is all hers.

“Phoenix” is a rare period movie that pulls us into a living, breathing world. It was shot in the Brandenburg region, with some additional work in Wroclaw, Poland. The film is a powerful allegory about mistaken identity (ala Hitchcock) and post-war regeneration using one woman’s harrowing story to explore Germany’s troubled past. The plot alone would probably make this a fascinating film but it’s the masterly craftsmanship and performances that reveal Petzold to be at the top of his game, slowly but surely building his narrative towards an absolute knockout of a finale. “A new face is an advantage,” her doctor tells her, and as the days go by and the bandages slowly come off, it’s clear that Nelly, like the majority of her fellow countrymen, will need to be reborn from the ashes of war, becoming a phoenix in a land striving to shift back to being “normal” again.

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Nelly is forced to become her own imposter under the guise of a husband who may either have loved her or betrayed her and she has take on a role she hasn’t played since the war started, being herself. What a perfect plot for Germany who as a nation must try to recreate an identity after being dominated for two decades by the Nazis and then bombed to smithereens by the Allied forces. What we have are historical, political and personal themes all working in the film and layers are gradually peeled away as the movie progresses. We ultimately get to explore the bare emotional traumas lying beneath.

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As he is known to do, Petzold underplays the pulpiness of his premise, instead focusing on its complex psychological and emotional undercurrents: “Nelly’s tentative suspicion toward Johnny, whose memory she credits with keeping her alive in Auschwitz, but who may have been responsible for sending her there; sequences of Johnny teaching her to behave like her former self, and to imitate a vivaciousness long lost to trauma; the ambiguous discomfort of the scenes where Johnny, a gentile, coaches the woman he doesn’t realize is his Jewish wife on how to pretend to be a Holocaust survivor”.

“OUT IN THE LINE-UP”— Gay Surfers

out in the lineup

“Out in the Line-up”

Gay Surfers

Amos Lassen

Former state champion surfer, Australian David Wakefield feels ready to reveal a secret that could turn his life upside down and inside out. He has been sitting on this secret for twenty years and he is now ready for people to know that is gay. At the same time, in another place, Thomas Castets is setting up the world’s first online community for gay surfers. The two meet and for the first time David connects with someone who understands the burden he has carried for so long. Thomas encourages David to confront his fears of rejection and David comes out at the Sydney Mardi Gras parade, receiving some unexpected media attention. As he expected there were mixed reactions from friends and family but David is determined to find out why homosexuality is so hidden in surfing. He quit his job, packed up his house and joined Thomas on a global journey to bring understanding to this taboo topic. “OUT in the Line-up” follows them from the east coast of Australia to Hawaii, California, Mexico and the Galapagos Islands as they meet and surf with people from all corners of the surfing.

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The two soon become part of a larger community of those who have become ready to come out and create a surfing culture that is open and accepting. As they search for surfers who are openly LGBT, they try to understand why it still seems to be a secret within the world of surfing.

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Very few athletes are openly gay, even though the number is slowly increasing. What makes the sport of surfing so different, is not only the way that other surfers view those gay athletes, but the way that the business of surfing is so against homosexuality. This becomes a major theme in Out in the Line-up, from director Ian Thomson.

The old fashioned ideas of what a man and woman should look like, as well as how their sexual orientation affects product sales is at the heart of the problem in surfing. We, once again see the importance of money. Athletes make money from sponsorship, but sponsors feel that nobody will buy their product if the athlete is gay. The pressure from within the sport is incredibly strong, and a number of openly gay athletes only came out after quitting the sport.

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The film is inspiring and there is great footage of surfing and this is important film. While the subject is surfing, it could be about any other sport.

“STARCROSSED”— Brothers and….. Lovers

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“Starcrossed”

Brothers and…. Lovers

Amos Lassen

“Starcrossed” is an atmospheric story of two brothers, Darren and Connor, whose relationship develops into something more than society could ever handle. Unable to deny their feelings for each other the two brothers try to hide their relationship from an unkind world but fail. The boys decide that a world that cant understand them is a world that is not for them.

Writer/director James Burkhammer lets the story play out with honesty. The sequences of the two boys first falling in love are very sweet. There is no doubt that people will find this shocking but as we watch it we realize that the brothers share s purity to themselves and to their love for each other. Some will see this as a taboo relationship while others will see the simple story of two human beings in love.

As with any short film, the story is fairly simple and we see that the film is attempting to look at one of modern society’s most deeply held taboos. This film succeeds in every respect. In the fifteen minutes of running time, I found myself feeling a gamut of emotions. With only a little dialogue, the viewer is rapidly pulled into the most personal moments and thoughts of these star-crossed brothers.

From the opening scene set in their early childhood, we see the very close relationship the brothers share. When the film progresses to the present day in the next scene, the excellent acting and honest, heartfelt performances remind the viewer that love can come in the most unexpected and harsh way. As the relationship progresses, any disgust the viewer may initially feel is quickly replaced by sympathy and emotional distress as the viewer suddenly realizes that there can be only one possible resolution. And the aftermath of that resolution is heart-rending.

The film makes us boldly and honestly challenge and/or reexamine some of our deepest beliefs on the shame-filled and secretive taboo of incest. Though the film is only fifteen minutes long, it resonates in the viewer long after the credits roll.

The brothers are played beautifully played by J.B. Ghuman Jr. and Marshall Allman). Director Burkhammer follows the boys growing up from their early prepubescent years to their teens, and is able to effectively capture, in a non-judgmental manner, the intense emotional connection the two brothers have for each other. At times you forget that they are brothers, and instead enjoy the true beauty of their love for each other.

If really makes no difference how we feel about incest, no one is able to deny the real beauty of unconditional love between these two people.

“HEARTS AND HOTEL ROOMS” — Remembering

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“Hearts and Hotel Rooms”

Remembering

Amos Lassen

In Justin James’ short film, “Hearts and Hotel Rooms”, we meet Brian and Jimmy who go their separate ways after an unforgettable night. It is the story of two young men and facing the consequences of their actions after a one-night stand. The film looks at commitment and honesty, and nakedly offers both as a choice to be made, It is filmed in saturated colors and with an edgy yet unobtrusive technique. It’s a coming of age story that looks at the brevity of relationships in the gay lifestyle with themes of commitment, sex, and romance.