This one falls into that darker corner of gay cinema. There was real potential buried in here, but the execution feels so flat that at points it plays out more like a filmed stage play than an actual movie. It's a dark psychological drama built around a street hustler confessing to a brutal, confusing murder of his own lover. Black and white flashback sequences do a solid job laying out the details of what happened, but the real focus stays on the dialogue and the writing itself. Right at the start, a young hustler has already killed his male lover Claude. Three days go by before he calls the police to turn himself in for the murder. But instead of just reporting it somewhere ordinary, he actually summons the police and the local press directly into a judge's private chambers. Yves has keys to the place, which tracks given what he does for a living, but having the press waiting right outside makes the whole scene look like some elaborate blackmail scheme against the judge. The ...
This was such a random experimental film. These are the kind of films that make me wonder that in the name of "different" cinema, some film makers are ready to offer all sorts of garbage and expect that audiences should lap it up. Come on.. we are better than that. The film starts with a documentary style focusing on 22-something Chinese gay film maker who talks about his work and love life with an unseen friend behind the camera. The maker also gives an ode to his mother. Before you realize, the film shifts to showing 4 of the directors short films. "Hysterio Passio" shows images of men's passions. In "Matricide," a lawyer asks a young gay Chinese why he killed his mother on Christmas morning. In "Key in the Heart," a heroine (an Asian man in drag) pursues vampires. In "Fall, 1990," college students meet their roommates, and Jimmy, an edgy scholarship boy without a family, is slowly brought to an understanding of love by the ...