This is the second vertical AI BL drama I've sat through, and honestly I went in knowing better. I had it on while I was doing cardio at the gym, and what struck me was just how much the plot echoed the last one I watched. Same step brother romance angle, same mystery girlfriend showing up near the end, same extra guy pining after one of the leads. Genuinely the only thing going for it was the runtime, the whole thing wrapped up in forty five minutes flat. The setup kicks off with Finn moving schools because his mom just married into money. He finds out his new step brother Aiden goes to the same place, and he's warned to keep his distance from him. Their first run in at school is rocky, just like you'd expect, but there's this odd pull between them neither can shake off. Finn keeps telling himself not to read into it because Aiden's straight and openly homophobic. Things shift when some kids start bullying Finn and the student council president, Ryan, steps in to ...
The film moves at a very fast pace. We see his earlier days in theatre, how he manages to befriend a few people dreaming of making films. He moves from different actors, characters and people while terrorizing everyone on the sets to make a movie the way he wanted it to look. We see how he was openly gay, sexually very promiscuous, a man who wanted to defy all norms of film making and a drug addict. You know that the film is not going to end well for a person with al these traits. With a life dedicated to cinema, churning out three to five films per year, a devout cinephile, promiscuous homosexual, and conflicted Marxist, his live-fast-die-young lifestyle was the stuff of a rock star, not a director.
Sadly the film never goes into the psyche of the person that Ould make you either appreciate him or hate him or even just understand better. You watch this film and you feel like you are watching a self absorbed guy who yells at everyone, has sex all around, does a lot of coke and somewhere in between finds time to make 3-5 films a year. How was he funding these films, where were the story ideas coming from, why were the actors dying to work for him when clearly his reputation was never the best; is never touched upon. Interestingly, this biography itself is shot in a mix of theatre, half-in, half-out experiments kind of film; which is how apparently all of Fassbinder films used to be like. The sets and location are bare minimum with complete focus on just the actors. We also get to see the few relationships that he was in with other guys. But as I said, never anything is explored in details. The film is mainly interested in what a monumental jerk Fassbinder could be, treating theater companies, film crews, actors, producers, lovers, and family members like obstacles, raw material, or garbage, depending. This is not my kind of cinema unfortunately. (2.5/10)
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