u/PastaFreak26

Orpheus’ Song (2019)

Fitness junkies and German gymbros Philipp and Enis win a one-week trip to Greece. One night, Philipp’s bravado with a female hotel guest at the bar earns him the ire of her married husband. Though this little event presents a minor setback for the duo, they eventually carry on with their merry trip as usual.

The two explore Palaiokastritsa, a deserted village rumored to have caused the disappearance of countless individuals, and are subsequently stranded in the wilderness due to the lack of network coverage and proper navigation, causing tension to arise between them. The two briefly encounter Hercules, an eccentric local promising to guide them, though this turns out to be a front to rob the two of their belongings.

On the last night on the island, having come to terms with their impending doom, a drunk Philipp and Enis give in to their sexual tension and consummate their love on a beach. When all hope seems lost, however, the two eventually discover a way back to the hotel the following morning and successfully return to Germany. Their return is marred by their sexual intimacy on the island, and causes Enis to distance himself from Philipp.

Philipp, on the other hand, attempts to reconcile with Enis to no avail, eventually forcing him to book a one-way ticket to Greece to escape his heartache.

Orpheus’ Song doesn’t really have a story, as much of it is concentrated in the homoerotic bromance moments between Philipp and Enis, but they are surprisingly tender, intimately gratifying and powerful when they happen. It blends the elements of pseudo-psychological horror and cultural myths with a dose of whimsy to tell the story.

Much of Philipp and Enis’ shared sexual tension is subtly and thoughtfully peppered throughout the film, with Philipp being the first to realize his growing attraction for his gymbro. There’s also the clever use of (soft) aphrodisiac symbols such as alcohol and the pomegranate fruit to hint viewers on what’s to come, and the occasional nude scenes.

No Hard Feelings (2020)

Germany-born Iranian young adult Parvis is gay and out. He leads a debauched lifestyle, spending most of his days sleeping in, frequently visiting nightclubs and indulging in casual sex with random gay men. When he is caught shoplifting, he is forced to serve his community service at a shelter for young adult refugees in Germany, where he attracts the attention of fellow Iranian refugee Amon, and his elder sister, Banafshe (Bana).

Parvis struggles to adapt to the new environment, for his privileged upbringing causes him to be sensitized to the hardships at the shelter. However, he strikes an unlikely bond with Amon over their shared heritage and cultural identity, though Amon quickly withdraws as his interactions with Parvis are frowned upon and detested by the other Iranian refugees at the shelter.

Bana notices her brother’s attraction toward Parvis, and schemes to bring the two together outside the shelter through any means possible, whilst secretly struggling with the risk of deportation for undisclosed reasons herself.

No Hard Feelings is another entry in the slew of LGBTQ European films that explores the themes of refugee displacement, internalized homophobia, and discrimination. But it is also different in that the heart of the film doesn’t just center around Parvis and Amon’s love story, it focuses on Bana, who is a close ally and the heart of the trio, whose feminine perspective lends a touch of softness and grit that balances Parvis’ effeminacy and Amon’s masculinity.

The film isn’t shy about its nude scenes either, particularly with Parvis and his encounter with other gay men. As formulaic as its storytelling premise is, No Hard Feelings elicits incredibly strong emotions and stakes when the scenes demand it. In a way, it also attempts to defy the doomed creative cliches that govern LGBTQ films about refugees and discrimination by ensuring our beloved trio receives the happily-ever-after they deserve.

I say American because it contains ingredients that the traditionalists would scoff and balk, i.e. black pepper, parm, parsley (?)

Yes, that is a lot of noodles for one. I skipped carbs the whole day and stuck to fiber, some protein and fruits to enable this midnight indulgence :x

Before the Fall (2016)

Set in Virginia, Lee Darcy’s world turns upside down following an unintended altercation with his girlfriend on one drunken night, which sees him charged with a felony and losing a lucrative job opportunity in Atlanta. Meanwhile, Ben Bennett is a successful, single gay attorney who is simply counting down the days, showing up to work, earning good money, and praying to God the perfect man will suddenly show up in his life. Neither man shares a common interest, but their paths converge during Lee’s court hearing.

I don’t think I’ve ever had so little to say about a film, and if I ever did, know that Before the Fall absolutely knocks the ball out of the park and takes the cake home for being one of the worst LGBTQ films with a happy ending I’ve ever seen. So bad that it makes Shelter (2007) look so damn good in my books. And that’s because the film focuses on anything but the dynamic and developing relationship between Lee and Ben.

For a ~92 minutes runtime, Before the Fall spends 80% of its story exploring trivial side plots and characters that serve little to advance our protagonists’ relationship in a meaningful way. The writing and lines are cliché, cringey, and absolutely horrible at every given scene. The pacing leaves much to be desired, and while the film attempts to draw the connection between Lee and Ben and how their worlds inadvertently collide, the story flow is poorly handled and leaves viewers with more questions than they began.

One might even say the story in Before the Fall feels highly contrived, particularly the romance between Lee and Ben, that isn’t explored until the final 20 minutes of the film (yes, it’s that bad). The romantic (not even sexual) tension between the two is largely absent, filled by two or three subtle moments from Ben that clearly indicate he has fallen for Lee. The problem, however, lies with Lee, who has done little, if at all, to reciprocate those feelings on a level that feels organic.  Nothing suggests Lee developed feelings for Ben over the course of the film, which makes their happily-ever-after incredibly weird when it is delivered.

I suppose… in an all’s well that ends well manner, the lack of organic onscreen chemistry matters little when our protagonists inevitably end up together. The redeeming quality to this film, I feel, is Lee’s actor, Chase Corner, whose looks resemble a cross between Matt Hussey and Beau Mirchoff. The chiseled jaw, the tousled brown hair, the smoldering look, and those olive-colored eyes are enough to keep viewers engaged and invested in the film.

Do I hate this film? No. Do I think it’s bad? Yes. Do I think Chase Connor and his character make it worthwhile? Kinda. But given the chance, I wouldn’t want to rewatch this B-grade film if I had a choice.

Label Me (2019)

Waseem is a Syrian refugee seeking asylum in Germany. Owing to his status as an asylum seeker, he is mostly confined to the walls of his refugee camp. To pass the time, he frequently visits gay hotspots and offers sexual favors in exchange for money. His only condition is he does not take it up the ass.

He encounters Lars, a German man who is the quintessential depiction of a White person – Blonde hair, blue eyes, and porcelain white skin. Lars is immediately attracted to Waseem, and solicits repeated sexual services from Waseem, though it is clear he harbors deeper feelings for the Syrian refugee.

Initially transactional in the relationship, it does not take long for Lars to break through Waseem’s guarded exterior, which leads the two to develop a closer bond, in spite of Waseem’s best efforts to remain emotionally distant and inaccessible.

For a 60-minute runtime, Label Me offers a lot for its viewers to unpack. But the film’s focus is singular, and centers around Waseem and Lars’ developing relationship. Everything else is in its detail, execution, and the deliberate use of intentionally loud or muffled audio cues to convey the stakes in the film.

Despite preceding The Lawyer (2020), the film feels like a fast-paced, steamier, sexier competitor, and better entry of the two, with scenes that would put the 2020 title to shame. In fact, one might be inclined to call it a softcore film.

Both films share highly similar themes – Refugee displacement, internalized homophobia, LGBTQ discrimination, but Label Me does it in a way that is darker, grittier, and more mature. Several scenes in the film are as graphic and sexual as can be, and other scenes may potentially be triggering and traumatizing to some.

In one distinct frame seen through Waseem’s perspective, viewers watch as several male refugees gang rape and sexually abuse a fellow helpless refugee, who is outed unwillingly, leading Waseem to walk out on the moment to protect himself.

In a few other frames, Waseem himself is put through several nail-biting moments, including nearly being exposed by the same group of gang rapists, breaking down when he forced himself to bottom for a male client to earn quick cash out of desperation following a fallout with Lars. Lars himself, is also nearly subject to gang rape when he attempts to approach Waseem at the refugee camp, only to flee the compound when he realizes the precariousness of the situation he is under.

Some moments in the film are much more delicate and offer a different side to Waseem. It is implied he is genuinely attracted to men and desires a relationship with Lars, but struggles to come to terms with the reality due to his harsh environment. In another tender moment in the film, Waseem seemingly opens up to Lars upon discovering a sketch of him in Lars’s notebook, much to the German’s chagrin. The film does enough to remind you there is more beneath Waseem and Lars’ transactional relationship, and at every corner, Waseem is trying his best to soften as a human being, for he is tired and desires solace.

The difference between both films? The ending. Label Me’s conclusion falls on a rather ambiguous note, though one could arguably surmise that it is a form of happily-ever-after. It has a very soft closing to the harsher undertones depicted throughout the rest of the film. Given the progression of the film, I would like to think it’s a positive happily-ever-after, the kind that we’re all hoping for.

Handsome Devil (2016)

What happens when you pair a social outcast with a popular, athletic jock in a school for storytelling? A highly formulaic coming-of-age LGBTQ film.

Ned Roche is a bit of a Greg Heffley meets reclusiveness, cynicism and withdrawal. He is also endearingly nihilistic, emphasis on endearing. And for valid reasons. Ned feels unseen, and unsupported in an all-boys Christian boarding school, Woodhill College. Both his father and his stepmother are largely absent in his life, while he is helplessly confined to the school grounds. He is always plotting and scheming to commit some academic transgressions with the hopes of receiving expulsion, to (no avail) set his life on a perceived path to nihilism. Deep down, he is simply a boy who yearns for attention and a place to belong. Above all… Ned is gay and frequently bullied by the boys in school, which explains all the above.

Which is why when athletic jock and new transfer student Conor Masters shows up at Woodhill College, and bonds with Ned over shared interests, Ned suddenly finds the interest to remain in school again.

Conor, is a broody but socially warm boy who has earned himself quite the celebrity status in Woodhill College owing to his affinity for rugby. However, his newfound popularity begins to experience cracks when his past demons resurface, prompting the jock to question his “allegiance” and his teenage identity.

Aside the protagonists, Handsome Devil features a list of stellar actors, most notably Andrew Scott, who to no one’s surprise, plays a gay teacher at Woodhill struggling to navigate workplace discrimination against LGBTQ individuals and retaining his passion for education. Michael McElhatton (Game of Thrones) plays the stern, but compassionate headmaster, Walter Curly. And lastly, Moe Dunford (Vikings) is convincing as the homophobic rugby coach, Pascal O’ Keefe, that you desperately want to hate.

Handsome Devil is a film about solidarity, camaraderie, and standing up to what’s right. And it isn't afraid to explore moments that are very relevant to the early 21st century homophobia at the workplace or school. In one scenes, Dunford's character is seen convincing the headmaster to look into Scott's past, implying his sexual orientation violates everything the school stands for and deserves a case review. In another, he instructs a fellow rugby player to dig into Masters' past and uses it to coerce the star Rugby player to forego his pursuit and love for Arts. It might be triggering the same, but also very, very, very satisfyingly delivered when these moments of injustice receive their overdue comeuppance.

McElhatton's headmaster is a man of few words, but speaks with such wisdom, conviction, and truth that is guaranteed to hold the viewers' attention. He is also, quite handsome if I do say so myself, and ultimately pulls through as an LGBTQ ally over the course of the film.

There is one thing to be said, however... The entry promises a happily-ever-after but it may not be what most viewers would expect. Beyond solidarity, friendship, and courage, the film wants to focus on the message that to overcome adversity, we must first put aside our differences to come together to face a common evil, friend or foe, which is why its highly formulaic storytelling works to its advantage.

Entered our house one rainy morning to seek shelter. Dad was sitting downstairs and noticed a little dart across the living room, immediately notified mom and told us to close all doors on the second floor.

I did, except… nobody knew it was already chilling in my elder brother’s room before cutting through our shared toilet (I didn’t close the doors to the shared toilet as it was a raining and wanted the morning breeze), then hid under my bed.

Took my folks several tries to get it out, then ran back down to the living room, into the kitchen and finally cornered itself in the washroom.

Mom set a trap to lure it out. It hid at the back of toilet bowl the whole night, came out twice through the evening to Play with the toilet roll and bar of soap.

Finally caught it next day. Mom took the cage and set it free at a nearby forest.

Doesn't seem like this film is available to non-EU or UK natives.

Been craving similar films such as God's Own Country (2017) set in the bucolic UK/Irish/Scottish sceneries with happy endings. If anyone has any other titles, I'm open.