Reviews (3)

Film-School Projects Show Their Age
The films in Boys Shorts are, to be blunt, boring. I found myself fast forwarding looking for the next bit of dialog or human interaction. A few of these directors have fallen into the arrogant trap of believing that their work is so good that it needs neither plot nor momentum. It's not.

My advice is to leave these shorts to their owners. They are from the early 90s, and feel even older. They will never become classics. They feel like film school projects. Several of them might well garner an A from the teacher, but none are worth public exhibition. Save your money.

Review
"Boys' Shorts showcases six of the finest gay shorts produced in the last four years. This feature-length program, spanning the work of filmmakers from the U.S., Canada, England and Australia, exemplifies the quality, defiance and self-affirmation of The New Queer Cinema. B. Ruby Rich, in her ground-breaking article in Sight & Sound on The New Queer Cinema, wrote: "These works are irreverent, energetic, alternatively minimalist and excessive. Above all, they're full of pleasure. They're here, they're queer, get hip to them." " - From Frameline

RSVP Director: Laurie Lynd 1991 Canada 23 mins. A powerful and moving portrait of loss, punctuated by the haunting recording of La Spectre de la Rose, performed by Jessye Norman.

Anthem Director: Marlon Riggs 1990 USA 9 mins. A collage of erotic images and a call to arms, with a feverish hip-hop energy that celebrates the lives of African American men.

Relax Director: Christopher Newby 1991 Great Britain 25 mins. An elegant film about one man's fears and fantasies regarding HIV testing.

Billy Turner's Secret Director: Michael Mayson 1990 USA 26 mins. An upbeat, slickly produced, energetic comedy about a young Black man coming out to his homophobic roommate.

The Dead Boys' Club Director: Mark Christopher 1992 USA 25 mins. A charming and poignant tribute to the '70s world of promiscuity and glitter balls, firmly rooted in the American cinematic tradition (it pays tribute to The Wizard of Oz) and in gay life in the '90s.

Summary
Showcases six of the finest gay shorts produced in the 90's and exemplifies the quality, defiance and self-affirmation of the New Queer Cinema. BOYS' SHORTS includes RESONANCE (Dir. Stephen Cummins), an exploration of a gay-bashing in the back streets of Sydney; RSVP (Dir. Laurie Lynd), a powerful portrait of loss punctuated by the haunting voice of Jessye Norman; ANTHEM (Dir. Marlon Riggs), a collage of erotic images that celebrates the lives of African American men; RELAX 9Dir. Christopher Newby), an elegant film about one man's fears and fantasies regarding HIV testing; BILLY TURNER'S SECRET (Dir. Michael Mayson), an upbeat, energetic comedy about a young Black man coming out to his homophobic roommate; and THE DEAD BOYS' CLUB (Dir. Mark Christopher), a steamy and poignant tribute to the '70s world of promiscuity and disco balls from the perspective of gay life in the '90s. Color and B&W, 119 min., NTSC ... Read more

Reviews (6)

A visual feast for the senses and soul
I was so enthralled by the beauty of this film that I had to go back and see it again the next night. I might add that I almost never see movies twice. Visually stunning black and white cinematography toned a deep blue-tone, lent a rich sense of dreamlike antiquity to the film. Shot on location in northern France, full of medieval icons and stone buildings, surrounded by peasant farms and fields the film touched on many local customs and lore : gypsies with houses in trees, a dark-tressed virgin mary-possibly an older connection to Ceres or an earth-mother goddess, early midwivery, and, perhaps most importantly the desire for a direct connection to God, which conflicts with the Church-as-middle-man role. The story was a deeply moving and inspiring tale of a pure desire to touch divinity.

A Profound depiction of medieval life
There are not enough words to describe the utter beauty of Anchoress. The imagery and symbolism is intellectually and visually satsifying; one could watch this film over and over again without boredom. The silence, which so permeates this film, allows for a certain contemplation for the viewer; the dialogue is fabulous, and is not thrown around in an uncareful manner - it is placed where it is needed, conveying perfect and correct meaning. Overall, Anchoress offers the most expressive and possibly most accurate depiction of medieval life (even though us 21st century folks don't know what that would truthfully be) on film. I could not imagine Anchoress being in color - it would take away from the grainy feeling of the black and white, which is such a key part to the imagery I believe; the black and white even adds more to the medieval feel. Moreover, the story of Anchoress is equally important. Christine, the young anchoress (Natalie Morse) could teach us a lesson or two - she finds God in her food, in the dirt, in a beautiful (yet very primitive looking) Virgin statue, in a small cell, and underground; Christine discovers God. . . she does not allow God to be dogmatically pushed on her (as seen in her discussions with the Priest). I could watch Anchoress over and over. . . honestly. As a medieval history buff and as one interested in the lives and practices of medieval anchoresses, I highly recommend this film to others with the same interests. Also, to anyone who appreciates visually stunning film, Anchoress will fill your mind with awe.

Gorgeous and thought-provoking
What a joy it is to see "Anchoress" coming out on DVD -- and at a consumer-friendly price, no less. This artsy/indie film should appeal to lovers of unusually and visually beautiful films, and it should appeal both to Pagans and to Christian mystics, as it explores issues of the soul dear to both groups. The central character, the Anchoress of Shere, is reminiscent of Julian of Norwich, a more orthodox though no less spiritual historical figure from the 14th century. The Anchoress of Shere enters the stern life of a female mystic/recluse, in part because she has visions of the Blessed Mother, in part to escape the unwanted advances of her landlord. Trouble begins to brew when her visions of the Mother do not match the rigid orthodoxy of the parish priest. This movie asks important questions about the relationship between authentic spiritual experience and the dogmatic "party line" of organized religion; it also explores the tension between heavenly-oriented and earthly-oriented spiritualities. It also has a few things to say about gender politics. But beyond the philosophical tension in the story, this film (shot in a softly-focussed black and white) is cinematographically gorgeous, a pure delight to look at -- a visual hymn to the mysterious beauty of both heaven and earth.

Very Cool
I'm not saying much, because saying anything is already too much. Filmed in black/white, the poetic suggestions and use of imagery are simply spectacular. At the same time it's very subtle, evoking comparison with Bergmann, Lagerkvist and Popol Vuh. See the rough sculpture of the blessed virgin being carried across the field of rye and you will get drunk on the poetry that's in it. Oh, and the ending!!! It's wine....

A friend told us about it, we caught it the last night of its run and I thank GOD every day that we did not miss it.

Each scene framed like a renaissance graphite drawing.
In the oppressive atmosphere of the medieval times where midwives and herbalists were considered in league with the devil, one witnesses the transcendental journey of a young, spirited, and spiritual woman as she explores the feminine aspects of God, with Mary as her inspiration. The naturalistic concepts within the exploration of the feminine (Earth/Mother ideology) may offend some fundamentalists, but I interpret this as metaphorical. This film is worth seeing for the cinematography alone. It's unspeakably beautiful, shot in black and white, each scene framed like a renaissance graphite drawing. ... Read more

Reviews (2)

Beauty IS in the eye of the Beholder
I have been a fan of Bernard Hill for many years...ever since the movie Shirley Valentine. I stumbled across Madagascar Skin by accident. At first, I wasn't sure about buying this film because every review I ran across wasn't very positive. However, I was pleasantly suprised and I am glad I took a chance on this film.

The movie does unfold a little slowly at the start but the acting is strong and Bernard Hill is a delight. The basic story is about two men that are outcasts from society, they find each other and end up falling in love despite one being gay and the other straight.

Yes, the film is a bit artsy and at times I wanted it to go a little deeper but it touched me, especially the end of the film. On one hand the end left me wanting more and caring about both characters and on the other hand it was appropriate and satisfying. Bravo to Harry and Flint for finding and holding on to their little piece of joy in this world.

This One Isn't a Sleeper, Its A Snoozer
This movie has some beautifully shot images. Now that I've got that out of the way let me get to the rest of the film. The film seems to go out of its way to be "different" and as a result gives left me feeling alienated from the story (if there was one) and it's characters. The film gives us two characters who, somehow, fall in love. The gay identified character with a birthmark on his face just seems drab and depressed while his love object is a repugnant grandpappy of sorts who likes to scarf down rodents and spiders (charming eh?). The two of them live like outcasts in some abandoned hut. They seem to be part of the earth and most of the film contains shots of earthy images. I felt like I was trapped in that hut with those two men and it felt horribly claustrophobic. Watching this film is akin to a feeling of creative monotony. Its like being stuck as a child in a vacant lot waiting for your parents who should have picked you up an hour ago. You've been playing "make believe" with your friend the whole time but it got old a long time ago and you are only going through the motions. Gay cinema has never looked so beautiful, disgusting, and dull all at the same time. ... Read more