Starring Kostas Nikouli, Nikos Gelia and Aggelos Papadimitriou

Official Selection:
Cannes Film Festival, Un Certain Regard
Toronto International Film Festival
Winner, Chicago International Film Festival, Gold Hugo Best Film
Miami and Fort Lauderdale Gay and Lesbian Film Festival
Seattle International Film Festival
Frameline Film Festival
XENIA follows two young brothers in search of their birth father across the colorful landscape of Greece. Dany, 16, leaves Crete to find his brother Odysseus who lives in Athens and they journey to Thessaloniki where they think their father is living. When the handsome Odysseus isn’t protecting his daydreaming, gay younger brother, he auditions for the television talent show “Greek Star” where he pursues his fantasy of becoming a singing star. A comic and touching road trip of two brothers connecting and searching for their dreams.
128 Minutes • Drama • Not Rated • In Greek with English Subtitles

Only Kyle Chandler Was Man Enough To Play Cate Blanchett's Husband In 'Carol'




Todd Haynes: “He can hold his own with her. That’s not always easy.”


Festival crowds have extolled Cate Blanchett’s and Rooney Mara’s performances in “Carol,” the 1950s-set story of a demure retail worker who begins a romance with an older, married woman. Blanchett and Mara have been at the forefront of next year’s Oscar talk since the movie premiered at Cannes in May. But a third performance has received quieter kudos: Kyle Chandler in the role of Blanchett’s husband.

Chandler’s feat is full of resolve, his character struggling to reconcile the love he still feels for his wife while recognizing that she does not share the same desire. His screen time is a fraction of Blanchett’s and Mara’s, but it turns out Coach Taylor has just the brooding masculinity and underlying sweetness to capture the sexual stifle of ’50s suburbia — and Todd Haynes knew that from the start.

The director, whose previous movies include “I’m Not There” and “Far From Heaven,” participated in an hourlong Q&A on Saturday as part of the New York Film Festival’s Directors Dialogue series. There, he dissected his “Carol” influences — namely the 1945 British drama “Brief Encounter” — and explained his casting choices.

<span class='image-component__caption' itemprop="caption">Todd Haynes, left, speaks with New York Film Festival director of programming Kent Jones on Oct. 10, 2015.</span>ROB KIM VIA GETTY IMAGESTodd Haynes, left, speaks with New York Film Festival director of programming Kent Jones on Oct. 10, 2015.

Blanchett had signed on before Haynes was involved, when “Brooklyn” director John Crowley was attached to the project. When Mia Wasikowska dropped out due to scheduling conflicts, Haynes selected Mara based on the eclectic body of work she’s established in less than a decade, which includes “The Girl with the Dragon Tattoo” and “Her.” But for Chandler, the director knew he needed one thing in particular: “You have to cast, without sounding sexist, a real man opposite Cate Blanchett.”

“You need a guy who’s grown up, and a lot of actors don’t seem grown up, no matter how old they get,” he said. “They just seem like juveniles with gray hair or something, and he seems like a grown-up. He can hold his own with her. That’s not always easy.”

Haynes, who worked with Blanchett on her Oscar-nominated turn as Bob Dylan in “I’m Not There,” said he’d seen enough of “Friday Night Lights” to be “so impressed” with Chandler.

“That guy is so gifted, and he’s made for the ’50s, too,” he said. “As soon as he got into those clothes, it was like, ‘Oh, my God.’

“Carol” opens in November 2015



Disney Star Cast As Brent Corrigan In Retelling Of Gay Adult Film Industry’s Most Notorious Murder




Update: “Pretty Little Liars” Star Joins Gay Porn Murder Flick, Strips Down To Nasty Pigs With James Franco

It’s becoming more and more mainstream for LGBTQ stories to find their way onto the big screen — Milk, critical kocissuspectsflub StonewallThe Imitation Game and the upcoming The Danish Girl just to name a few. These films aim to uplift and inspire, shining a light on the great contributions our community has offered the world

 The recently announced Christian Slater/Molly Ringwald film King Cobra, though it also plans to dramatize a piece of gay history, will likely offer no such inspiration.

That’s because it will tell the story of gay porn studio Cobra Video owner Bryan Kocis’ murder by two of his stars, Harlow Cuadra and Joseph Kerekes (pictured above right), in 2007. Naturally, James Franco is involved, taking a producing and acting credit.

Both killers were sentenced to life in prison, and the gruesome details of the story inspired the bookCobra Killer: Gay Porn Murder. 

According to the investigating coroner, Kocis was stabbed 28 times and his throat was cut, nearly decapitating him. His body was left in his house before it was set on fire. Officials had to use dental records to identify Kocis because his body was burned beyond recognition.

Kocis’ involvement and subsequent legal battle with a then-underage Brent Corrigan, aka Sean Lockhart, added an unhealthy dose of scandal to the already-insane story.

And now the whole sordid mess is coming to a theater near you! It’s kind of like Brokeback Mountain with few more twists and turns. Except not at all. It’s all fairly horrifying.

Slater has signed on to play Kocis, and Ringwald has been cast as Kocis’ sister.

She recently Tweeted this photo of the onscreen siblinghood:

New Movie Brother

Playing the part of Corrigan will be Disney Channel star Garrett Clayton, who will bring some twinky fire to the unseemly universe:

Screen Shot 2015-10-19 at 2.14.14 PM

h/t: QueerClick (NSFW)

James Franco Strips Down On The Set Of His Gay Porn Biopic


The “127 Hours” star can’t seem to stay away from LGBT themes — and we love him for it.

If his Instagram is to be believed, James Franco will soon be playing gay once again.

The 37-year-old actor, who has explored gay themes onscreen in “Milk,” “I Am Michael” and behind the camera with “Interior. Leather Bar,” shared a snapshot of himself posing shirtless with actor Keegan Allen on his Instagram account. Allen, meanwhile, is wearing only a skimpy pair of briefs.

The photo is evidently from the set of “King Cobra,” which is based on the 2007 murder of gayadult film impresario Bryan Kocis. Franco’s production company, Event Films, is producing the film. No release date has been set.

Although few details of “King Cobra” have been made public, the photo could be the first indication that Franco will appear alongside Allen, Christian Slater and Molly Ringwald in the movie. Earlier this week, Disney Channel veteran Garrett Clayton reportedly signed on to play gay porn star Brent Corrigan, who became involved in a legal battle with Kocis after it was revealed that he’d shot his first adult scenes while he was still underage.

If the steamy snapshot is reflective of the rest of the movie, we won’t be missing this one!


Big Gay Picture Show

Reviewer: Tim Isaac


Starring: Tomás Farina, Jorge Luis Medina, Gonzalo Peralta Director: Martín Farina Running Time: 82 mins Certificate: 15 Release Date: September 28th 2015 (UK)

Fulboy is a sports documentary that I’d be willing to bet is unlike any other you’ve ever seen. For a start it’s about a group of professional soccer players but you never actually see them on the pitch, and there’s also the fact that nearly every write-up of the movie mentions the word ‘voyeurism’.

Director Martín Farina goes on the road with an Argentinian football team, getting access because his brother, Tomas, plays for them. Initially the players are suspicious of him and how he’s going to show them – afraid that the film will play into the image of players being lazy, spending more time smoking and playing poker than honing their sport skills.

However, he slowly gains more access to their lives, such as their fascination with how they look (which it’s suggested is a response to the fact they’re playing on TV), how much time they spend talking about their career and contracts – with a hierarchy amongst the players that acts almost like a union – and their worries about what will happen when they can’t play any longer.

None of that is particularly unique in the world of sports documentaries, but what separates Fulboy is the view of Farina’s camera. The director’s slightly pretentious narration talks about how he decided to stay off camera, but that you’ll learn about him through the gaze of his camera lens. If that’s true, it suggests a fascination with the men’s bodies and their casual nudity around one another. Farina films them extensively in the shower and locker room, with the camera often following their groin area around, so you’re not even sure which one of them it is, as their face isn’t in the shot. Indeed, you have to wonder whether the men knew this was going to be a strong aspect of the film, and also whether they noticed that Farina was following their genitals (both covered and uncovered) around with his camera.

That sort of question is a deliberate part of the film, with Farina inviting the audience to view the film in a self-reflexive way. For example, you’re aware that on the men’s side it’s both about how they are in private, as well as how they want to be seen (as they know the camera is there). Farina also wants you to question how you’re being shown it, so that you wonder whether the fact the camera is often placed at the bottom of a hotel bed looking up the body of one of the players, was merely the most convenient place to shoot from, or whether there’s a sexual, almost lustful aspect to it.

It gets to the point where you even question Farina’s motives, and whether the chance to be around sexy guys who spend a lot of time naked was more interesting to him than the supposed mission to tell us more about their lives.

Click here to watch the Fulboy trailer.

It’s a film where objectively there is no gay content – beyond the homoerotic edge to the camaraderie between the players – but yet it is an incredibly gay movie, purely due to the way it’s filmed. The ‘voyeuristic’ aspect is prevalent enough that there are moments where you wonder whether you should be watching. While Farina’s narration is a little pretentious, it’s also effective at getting you thinking about what you’re seeing, as well as bringing you inside his point of view, to the point where when the camera is viewing his brother naked in the same way it’s slightly leered at some of the other men, you almost feel like you should look away.

It’s sexy, but in a way where you’re not sure whether it ought to be sexy or not, and whether the director’s view is exploitative of the participants. For example, how aware are the players of how they’re being viewed, and if they aren’t, is that unfair to them? They know they’re being filmed, but do they know ‘how’ they’re being filmed. While the players talk of their worries about how they’ll be seen in the documentary, none of them even seem to consider a level of sexual objectification/desire. It certainly adds a level of interest to Fulboy that it would otherwise lack, to the point where sport almost becomes a subplot to the film’s self-reflexive questioning of what this documentary actually is.

Overall Verdict: Most documentaries are as much about how they’re filmed and what they decide to show you as they are about its subject, but they try to hide that. Fulboy faces it head on, taking a look at the lives of a football team, while questioning how we’re seeing it due to its voyeuristic edge.


The Tribe



One of the most audacious and acclaimed debut films of recent years, Myroslav Slaboshpytskiy’s astounding drama – sensationally told in unsubtitled sign language – follows Sergey, a new arrival at a school for young deaf people. Light years away from the kinds of benevolent institutions we usually see on screen, this school is a nightmarish world of ruthless cliques, gangs and hard currencies, where authority is entirely absent and chaos and criminality reign. Despite his early savvy, Sergey oversteps the mark when he falls for a young prostitute he’s assigned to pimp.

Slaboshpytskiy’s daring eschewal of subtitles ensures we’re plunged completely into this unforgiving world from the outset. The use of long, unbroken and expertly staged long takes is also highly accomplished for a debut filmmaker. Although The Tribe is an uncompromising work, it is a highly rewarding one with unexpected moments of tenderness; a film which posits Slaboshpytskiy as a significant new voice in world cinema.

Joshua Tree, 1951: A Portrait of James Dean (2012)

Joshua Tree -2 joshua-tree-1951












Joshua Tree, 1951: A Portrait of James Dean (2012), is a  gorgeous biopic which depicts the years before James Dean (played by James Preston, a former Abercrombie & Fitch model) became a cinema idol, imagining his affair with an unnamed male roommate and other men and women in his life.

It’s a very queer (in both content and gaze) and poetic portrait of young man willing to compromise to meet his ambitions (“if they want me, they’re gonna have to pay”).

Find it and watch it, you won’t regret it.










“We really do love you!” reads the message written in icing on a batch of cakes recently shipped to LGBT groupsfrom Oregon’s now-out-of-business Sweet Cakes by Melissa. Sweet Cakes, in case you’ve been ignoring the “religious freedom” frenzy going on out there, are the folks who declined to bake a wedding cake for a lesbian couple, because somehow it would violate their freedom to practice their religion. Then they got sued for it and lost.

But it’s true. They really do think they love you. More on that in a minute.

The cakes began showing up a few weeks ago at the offices of various LGBT organizations, chilled with dry ice and accompanied by a rainbow-colored DVD titled Audacity, the latest effort from New Zealand evangelist Ray Comfort.
audacity (1)Comfort is a man who decided that his home country was too small a playing field, and what he really needed to do was bother America. So he teamed up with former-child-star/current-pain-in-the-ass Kirk Cameron, and created The Way Of The Master, a freakish series of evangelism videos (currently available to be viewed, in part at least, on YouTube).

I’m a glutton for this kind of extreme aesthetic punishment, so I sent away for my own copy of Audacity. It cost $4.99 and it arrived within 48 hours. I paid $12 to see God’s Not Dead in a theater, so this felt like a bargain by contrast.

God’s Not Dead  is the current standard-bearer for conservative Evangelical film, the shining example of what’s possible in terms of penetrating the mainstream market with shitty niche moviemaking. Audacity‘s ambitions are somewhat smaller; it’s essentially a teaching tool to be shown in Sunday School classes and Bible study groups, a short film meant for conservative Evangelicals to watch together and then discuss, like a really inept episode of Degrassi.

And unlike the bulk of feature-length Evangelical movies meant to go out into  the world, where plots rarely, if ever, nod to the existence of LGBT people, Audacity is all about solving the problem of The Gay, or rather, solving the problem of how conservative Evangelical Christians position themselves with regard to queer people.

I watched Audacity, all 55 minutes of it, and here’s what happens: a young Christian man named Peter (Travis Owens) is burdened by the desire to approach all the gay people who cross his path so that he may “witness” to them. (For the un-churched, “to witness” is a verb that means to talk to non-Christians about Jesus until they give in or tell you to beat it.) In lieu of just being excellent at all the other activities the Bible demands that Christians perform regularly — feeding the poor, clothing the naked, tending to the sick — Peter carries a variety of gay-themed religious tracts in his back pocket, the kind that lovingly and gently remind queers about their future home in Hell. The tracts spend a lot of time in that back pocket because, in addition to avoiding all those other Christian responsibilities, he’s also too embarrassed to distribute his literature.

Peter has a lot of opportunities to fail at this hobby, with LGBT people lurking around every corner; meanwhile, he thinks about almost nothing else but the state of their souls, even as his anxiety paralyzes him, rendering him silent. Queers haunt Peter’s dreams at night, too, as evidenced by a nightmare sequence in which he fails to hand one of his tracts to two lesbians in an elevator that’s about to malfunction. Then the women fall to their deaths. Then he wakes up.

For no structural reason at all, this barely-there narrative is interrupted several times by clips of street interviews with random anonymous subjects, all conducted by Ray Comfort. The interviews consist of Comfort engaging in thoroughly illogical discussions with passersby, looping arguments that equate innate human characteristics, such as homosexuality, with moral choices such as adultery. Every person Comfort engages winds up telling him how thoughtful, kind, and, most importantly, right he is about gayness being a sin worthy of eternal damnation, and how it is exactly the same thing as cheating on your spouse.

audacity-film (1)

The mission of annoying total strangers on sidewalks accomplished, the film shifts back to Peter’s heroic journey, part of which involves him thwarting a convenience store robbery, thereby saving the lives of a gay male couple in the process. When they thank him for his efforts, he whips out his tracts. One of the gays storms off in anger. The other listens, soon to become an ex-gay notch in Peter’s belt. The reparative therapy sessions in this man’s future are neatly side-stepped.

Finally, Peter convinces a lesbian friend that she needs to get with his version of Christianity, just before she’s involved in a car accident that nearly kills her. She smiles in her hospital bed afterward, happy to be alive, ready to dump her girlfriend, and pass out anti-gay tracts of her own. The circle of idiot life.

LGBT characters in Audacity are always on the defensive, asserting their rights to be left alone. But mostly they’re depicted as ingrates, accusing adorably awkward Peter of hateful intent, even after he saves them from gunfire. Conveniently, this allows for Peter to go wide-eyed and earnest. No, he doesn’t hate anyone, how could he? It’s just that his immense love for humanity means that he “can’t stay silent.”

The deck is stacked: Just look at this nice man, the film is saying. This is what Christians really are, gentle and misunderstood.  They’re not “haters,” they’re just trying to save you from all the robbers and car accidents and hellfires, and you faggots are distorting their grace-filled intentions because your minds are polluted with distrust.

“Everyone invents the God they feel comfortable with,” says Comfort in one of the street sequences. Everyone, that is, except for conservative Christians, who’ve got a direct line to perfect understanding of the comfortably right-wing deity they’ve invented. Audacity is by them and for them, a pat on the back they can’t wait to give themselves. The rest of you can get in line for their peculiar brand of love, or suffer the consequences.

My Own Private Idaho

Exclusive: Gus Van Sant & Todd Haynes Discuss Impact of My Own Private Idaho 

my own private idaho


It’s tenderness that fuels the sexuality in My Own Private Idaho, Gus Van Sant’s beloved 1991 movie about Mike, a gay narcoleptic street hustler (River Phoenix), who is desperately in love with his best friend, Scott (Keanu Reeves) — which also happens to be a savvy, queer retelling of Shakespeare’sHenry IV. It all begins with Phoenix receiving a blowjob in the opening scene, and here two of the directors who defined what was called the New Queer Cinema — Van Sant and Todd Haynes — discuss the film in original commentary available on the Criterion Collection’s new Blu-ray release (pre-order here).

We lost the talent of Phoenix too soon, and many younger audiences may not recall that this is how Reeves was introduced to many viewers before he became a blockbuster marquee name, so it’s always essential to go back to this early masterpiece for repeat viewings. It’s unforgettable when Mike confesses to Scott : “I want to kiss you, man,” and the two cuddle up by a campfire together, and the scene clearly paved the way for Ang Lee’s Brokeback Mountain. It’s the realistic portrayal of platonic, symbiotic intimacy between the two men, however, that will stick with the viewer forever.

The new Criterion Collection Blu-ray is available Oct. 6. Watch the exclusive clip below: 

Bucket List of 21 High School Films Every Gay Must See

Bucket List of 21 High School films every gay must see – BUT DO YOU AGREE?  Write in on our comments and let us know your best films!


21 High School Films Every Gay Must See

Bullies. Cliques. Mean girls. Insecurities. Cafeteria food. The high school experience can be rough — especially for LGBT kids who may be struggling with their sexual identities while trying to fit in.

These films explore the teen experience, and that jungle known as high school, with humor and compassion. Many of them feature queer characters and/or queen bees that LGBT viewers love to see get shot down (or emulate). Some of them explore the minefield of gender identity, with teen characters swapping genders. But whether they explicitly deal with LGBT characters, or simply question and challenge the teen world’s cultural status quo, there’s something in each of them that should resonate with queer viewers.

G.B.F. (2013)
In this candy-colored comedy from director Darren Stein (Jawbreaker), an out gay kid is fought over by the high school queen bees, each of whom wants him as their “gay best friend.” The United States of Tara’s Michael Willett stars with Paul Iacono as his geeky gay buddy, with a fun cameo by Megan Mullally as a much too gay-friendly mom.

Geography Club (2013)
A group of queer kids form a secret after-school club to share their feelings and experiences in this LGBT variation on The Breakfast Club. The film stars Cameron Dean Stewart as a closeted jock, and the cast includes Scott Bakula as his dad, Hairspray’s Nikki Blonsky, and Glee’s Alex Newell.

Just One of the Guys (1985)
Joyce Hyser stars as an aspiring teen journalist who goes undercover as a boy at a rival high school to win a summer internship at a local newspaper. Gender-bending romantic tension, an R-rated reveal, and various high jinks ensue.

But I’m a Cheerleader (1999)
Natasha Lyonne plays an all-American cheerleader whose parents send her to a gay “rehab camp” when they suspect she’s a lesbian. The strong cast includes Michelle Williams, Melanie Lynsky, Clea Duvall, and an out-of-drag RuPaul.

Struck by Lightning (2012)
Glee’s Chris Colfer wrote and stars in this film about an ambitious teen who challenges the high school status quo by blackmailing his classmates into contributing to his literary magazine. The cast includes Pitch Perfect‘s Rebel Wilson, Allison Janney, Mad Men’s Christina Hendricks, andModern Family’s Sarah Hyland.

She’s the Man (2006)
Amanda Bynes and a very young Channing Tatum are both delightful in this update of Shakespeare’s classic sex farce Twelfth Night. This tale of a girl posing as her twin brother to attend an elite boarding school remains faithful to the Bard’s gender-bending play as it hits all the time-honored high school comedy notes.

The Curiosity of Chance (2006)
Tad Hilgenbrink stars as an out-of-the-closet gay teen who earns the support of an eclectic group of friends while contending with a homophobic bully at an international high school.

It’s a Boy Girl Thing (2006)
Samaire Armstrong (of TV’s Resurrection and The O.C.) and Kevin Zegers (Gossip Girl andTransamerica) play sworn rivals who magically find themselves living in each other’s body in this gender-bending comic fantasy.

Hairspray (2007)
As gay filmmaker John Waters once told this journalist, “The musical version of Hairspray was really my most subversive work. It tricked families into embracing two men singing a love song to each other, and believing that it’s a great thing for your daughter to fall in love with a black guy.” Nikki Blonsky plays the chubby teen who strikes dual blows for big girl power and racial equality in 1960s Baltimore.

Fame (1980)
Skip the 2009 remake and see the gritty original from director Alan Parker (Evita) about talented teens coming of age at New York’s High School for the Performing Arts. Irene Cara, Lee Curreri, Barry Miller, and Maureen Teefy star along with Paul McCrane as a sensitive gay actor. The film earned Oscars for original score and for its infectious title song.

Clueless (1995)
Alicia Silverstone stars in this clever update of Jane Austen’s Emma that informed every ditz-girl comedy that followed, including Legally Blonde and Mean Girls. Justin Walker plays the adorable boy she sets her sights on — without realizing that he’s gay.

Saved! (2004)
Jena Malone stars as a teenager who finds herself pregnant by her gay boyfriend and is then ostracized and demonized at her Christian high school. The wicked satire features Mandy Moore, Macaulay Culkin, Patrick Fugit, and out actress Heather Matarazzo as it skewers fundamentalist Christian hypocrisy.

The Adventures of Sebastian Cole (1998)
A pre-Entourage Adrian Grenier plays a high school student who must contend with the typical teenage challenges — as well as his recently transitioned transgender father, played by Agents of S.H.I.E.L.D.’s Clark Gregg.

Lost and Delirious (2001)
In this sexual coming of age drama, The O.C.’s Mischa Barton plays a shy freshman at a posh boarding school who discovers that her roommates — Piper Perabo (of TV’s Covert Affairs) and Jessica Pare (Mad Men) — are lovers.

Heathers (1988)
Winona Ryder and Christian Slater star in this dark comedy cult classic as teenagers who plot to kill the high school’s evil queen bees (Shannen Doherty, Lisanne Falk, and Kim Walker), all of whom happen to be named Heather. Ryder and Slater’s characters off two football players and then trick everyone into thinking they were gay lovers — leading to the infamous line “I love my dead gay son!”

Mean Girls (2004)
Tina Fey wrote this tale of an innocent teen (Lindsay Lohan) grappling with her high school’s reigning mean girls (Rachel McAdams, Lacey Chabert, and Amanda Seyfried). Looking’s Daniel Franzese plays her gay buddy, Lizzy Caplan (Masters of Sex) is her allegedly lesbian pal, and out gay actor Jonathan Bennett plays the hunky object of her affection.

Easy A (2010)
Emma Stone shot to stardom as a teenage virgin who tries to increase her social standing by pretending to have sex with her bullied gay friend (Dan Byrd). Rumors of her fictitious promiscuity spin out of control in this sly nod to Nathaniel Hawthorne’s classic novel The Scarlet Letter.

Pleasantville (1998)
With no gay characters or storylines, this is one of the most queer-friendly, socially subversive teen movies of all. Two siblings (Tobey Maguire and Reese Witherspoon) are magically transported into the black-and-white world of a 1950s sitcom, where they challenge and transform the sexually puritanical community into living, breathing life — and color. William H. Macy and Joan Allen are outstanding as their sitcom parents in this modern masterpiece.

Get Real (1998)
Ben Silverstone and Brad Gorton star as two British schoolboys discovering love in this tough but tender romantic coming-of-age story.

The Way He Looks (2014)
This sweetly naturalistic Brazilian film about a blind teenager yearning for independence, his best girl buddy, and the new boy in town who changes their lives is a subtle, charming, and totally winning tale of first love.

The Perks of Being a Wallflower (2012)
Logan Lerman (Percy Jackson, Noah) proves to be the best young actor of his generation as a troubled freshman who blossoms under the friendship of two seniors. The glorious Emma Watson plays the object of his affection and Ezra Miller is outstanding as his edgy gay friend in what may be the most evocative coming-of-age film ever made.

Reprinted from the Advocate: advocate_logo