Close (2023) - Movie Review

I’m starting to think that Bros from last year had an even greater impact on me than I realised because, ever since watching that, I find myself becoming more acutely aware of how Gay stories are commodified and framed for mass consumption, especially when it comes to films. Sure, there are no shortage of good, heartfelt, and authentic stories out there, but there’s a certain… uncomfortable pattern that a lot of them seem to fall into. One that feels oddly in-line with films like A Dog’s Purpose, where the attempt to make an impact with the audience involves victimising the central character(s). Gay misery and tragedy get more mainstream traction than anything positive or life-affirming, and this isn’t the only case where minorities are turned into misery porn for majority audiences. And I’ll be honest, this is one of the worser examples I’ve seen of this mindset in action.

Lonesome (2023) - Movie Review

Pornography is art. As a form of artistic expression, it is as valid as any other, and within the racier realms of independent cinema across the world, that level of explicitness can add genuine thematic texture to a story. However, for every filmmaker able to wield it well as a source of inspiration (Bruce LaBruce, Derek Jarman, John Cameron Mitchell), there are just as many, if not more, that seem to operate under the impression that gratuity on its own inherently makes a work of art deeper and more meaningful; think art films that show up on late-night SBS lineups. And the sophomore feature from writer/director Craig Boreham (Teenage Kicks) falls unfortunately into that category.