Whether he’s going by Vincenzo, Ambrosia, or Vincenzo D’Ambrosia, the film celebrates his shifting identity as he explains that the very act of naming himself is both confusing and empowering. His soul-searching voiceover narrates visually sumptuous footage of his performances, interspersed with more traditional community scenes of life in Naples. Vincenzo is a young queer artist from Naples, Italy who performs cabaret-style drag at La Boum, Milan’s premiere gay club.
#WIFE OF ONE AND ALL FUCKING FULL#
Lithe and full of longing, a young Italian embraces his provocative drag persona in this short and sensual documentary. So that’s the glass between these two characters.” “Ambrosia” But when you’re having one of these ‘flings,’ I have found that it can actually be easier to express how wild you are about a person… because you both know that you can never end up together. “I’ve also been in relationships with people where we both know there is no practical way to really be together. “I find sex to be pretty absurd, and I wanted to show that,” Krantz told Short of the Week, which premiered “Squeegee” in late May. You’ll never look at window washers the same way again. Written and directed by Morgan Krantz, “Squeegee” is an entertaining comedic interlude that has a lot to say about the human condition. The glass that separates the two characters is both a literal safety barrier as well as representative of the often murky disconnect between fantasy and reality. Lead actress Amy Rutherford embodies her frisky businesswoman with an empowered girlishness, communicating everything from desperate lust to soulful longing with nothing more than a few subtle looks. The 10-minute short is almost entirely devoid of dialogue, instead relying on a moody jazz score that wouldn’t be out of place in a noir. The most erotic film ever made about a window washer, “Squeegee” follows a delightfully weird tryst between a career woman and the scruffy younger man who washes her office windows. As always in Puccini’s work, the characters are tender and natural the images aglow with intimacy. “Dirty” explores the awkwardness of a more universal folly - bottoming for the first time.
“The Mess He Made” starred Max Jenkins as a man waiting for the results of an HIV test, and “Lavender” featured Michael Urie as half of a couple who invite a younger third into their longterm relationship. With a light touch and a lyrical eye, Puccini’s shorts play like a moving triptych of quietly pivotal moments in the lives of queer men. Three films in, and director Mathew Puccini has pretty much covered the gamut of queer experience. Many of the scenarios are surprisingly moving, like the guy who just wants to see a pretty girl call him “honey” and “love.” The film shows the coupe lugging camera equipment around their California home, interviewing the performers, and recounting customers and requests that stuck with them. Customers approach them with fantasies, whether to explore a specific fetish or to revisit an erotic childhood memory, and the Humes then craft them into bespoke porn. Though they began their career in mainstream porn, the duo soon recognized an opening for user-designed content. This funky little documentary explores the world of custom-order porn, a niche filmmaking enterprise designed by married couple Dan and Rhiannon Humes. They’re all available online, though you’ll have to head over to YouTube for the more explicit titles, and each one has its own unique vibe. Whether it’s a feminist genre take on actual bloodlust, or a comedy about an erotic encounter where the two people never touch, these films celebrate the full spectrum of human desire. While mainstream Hollywood struggles to address human sexuality in any meaningful way, these four recently-released short films explore sex and desire with a refreshing playfulness. What’s more, younger and emerging filmmakers naturally have a finger on the pulse of more progressive ideas, ensuring a broader range of perspectives.
Most filmmakers begin to craft their voices with shorts, and given the significance of making a strong first impression, the format encourages creative risks.
#WIFE OF ONE AND ALL FUCKING MOVIE#
With any luck, the new reality will broaden movie lovers’ horizons enough to include short films, which U.S.
Audiences can now experience a wider variety of films online, opening a world of possibilities that will hopefully benefit smaller films. As film festivals pivot to the ever-shifting landscape of distribution and sales, the way we consume independent film is changing more dramatically than anyone could have predicted.
0 kommentar(er)
