Film Categories: gay

  • Tonight It’s Me

    A hustler and a trans woman meet up randomly for a late night tryst. Over the course of the night, the unlikely pair confess to some uncomfortable secrets and discover hidden truths. The two realize that they share a genuine and intimate experience much deeper than a hook-up.

  • SPANKIN

    An anagram of “napkins,” SPANKIN transposes the gay hanky code of the 70s onto contemporary coffee culture. Although humorous in content, SPANKIN is an allegory for hierarchical relations within minority groups, consumerist co-optation of identity, and the collective historical forgetting of repression and resistance. The older man has lived through it, the middle-aged man has heard about it and needs to look it up, while the young man is oblivious. Inspired by the criminalization of homosexual behaviour in Russia, India, Nigeria, and Uganda in 2013, SPANKIN revives the handkerchief code formulated during a similar period of suppression in North America…

  • ANCESTRIES

    An anagram of “resistance,” ANCESTRIES is a layered piece that encodes the dialectics of colonialism, de-sexualization, desire and resistance. An Asian is seduced by, and in turn, seduces a Caucasian whilst simultaneously reframing and performing two arias from Samson et Delilah by Camille Saint-Saëns. ANCESTRIES suggests possibilities for resistance vs. outright rejection by having the Asian turn the colonized culture against itself. At the same time, it brackets the Western de-sexualization and feminization of Asian males (and high voices), while simultaneously exemplifying and subverting the stereotypes of submission. The use of male bodies also calls out the worship of hard,…

  • The Age of Insecurity: Bed Buds

    After a night out, two buds talk where they’re most comfortable – in bed.

  • Angst

    The story of the exquisite torture suffered by high school students on a daily basis. Our hero is both sullen and gay. He feels isolated and alienated but he is not alone – they’re all caught up in a big daisy chain of unrequited love and teen trauma.

  • A MOOR

    A MOOR – (or a “room” inverted) synthesizes the multiple meanings of securing, uncultivated land, and an ethnic population in its portraits of Caucasian sex tourists who blur into one another through the POV of an unheard and unseen Asian escort. The dynamics of power and race revealed through the clients’ speech and not allowing the Asian character that forms the core of the film to be seen or heard.

  • BLISSED

    The unspoken issue of LGBT domestic violence becomes an allegory for LGBT racial dynamics. Drawing inspiration from the claustrophobic tensions of Tennessee Williams, it distills the undertones between classes in society, the plight of immigrants in Canada, the double-edge of charity, and the transference of violence from people’s fetish and fear.

  • IN DIFFERENCE

    A conversation between a young banker with an older homeless man traverses a downtown meridian surrounded by commercial buildings, populated by homeless people at night. Drawing inspiration from Samuel Beckett and Dialogues of Plato, IN DIFFERENCE fuses Man with Myth and Metaphor to comment on the veneer and prejudices of contemporary society.

  • CONTENTUS

    CONTENTUS takes its cue from the meanings of the (latin) word – to strain with exertion, to hold together; in which three parallel stories intersect in a contemporary allegory of labor, loneliness, prejudice, power and place. Connected by isolation, everyday cruelties and unheard stories, the underrepresented characters straddle the metaphoric and the real. An unseen Asian escort’s clientele of Caucasian sex tourists blur into one another, domestic tensions and violence of a professional man and his young live-in immigrant lover, and an encounter between a young banker and his older homeless doppelgänger in a city meridian populated by High Finance…

  • Scenes From Another Marriage

    Alex and Chris are a couple who take it upon themselves to remake Ingmar Bergman’s Scenes From A Marriage for the LGBT world. While the pressures of co-directing sometimes fuel tensions between them, they grow even more concerned about some irregularities that seem to befall the set. Namely, they become suspicious that there may in fact be an outside party skulking around. This is confirmed one day in a lull between shots, with a director-like person appearing behind their gear, crew in tow. As this new reality takes hold, and they find themselves pushed and pulled by this ‘other director,’…