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Intriguingly, this also makes the film feel a little clinical, which is another echo of Cunningham's lean, body-stretching approach. Kovgan avoids any exploration of Cunningham's personal life, aside from oblique references to his partnership with Cage. It could be argued that this does a disservice to the deeper issues surrounding Cunningham's life, neglecting to offer any insight into his work. But then, he never liked to look for meaning in dance. And the way he sculpted performances to the individual skills of his dancers might offer the most important insight into his legacy.

some themes

6.Feb.20

Along the way, the film traces how the devastation of suicide has nothing to do with sexuality: children lose hope after being rejected as an abomination. And one family's story turns even more horrific, as son Vico was in the Pulse nightclub when a homophobic terrorist went on that 2016 murder spree. Events like this are clearly a result of what both the church and culture are saying, and director Karslake weaves in footage of preachers and politicians spouting hatred with a smile. But they're encouraging violence and murder.

Pastors feel justified in preaching hatred and violence. Trans bills aren't about bathrooms, they're about justifying discrimination. Anti-gay therapy group Exodus' executive Thomas expresses the view that homosexuality is brokenness, and that celibacy is better than living in sin. All of this this leads only to thoughts of suicide, exacerbated by rampant bullying. Thomas later admits that Exodus' approach was causing harm, and he struggles to forgive himself for what he did.

The truth is that the Bible never condemns homosexuality: biblical passages preachers quote all refer to rape, abuse and exploitation. This film notes this, but doesn't belabour the point, centring instead on the power of positivity, love and acceptance. It also makes it clear that faith is not always a problem and can often lead to healing. In other words, Karslake maintains a remarkably complex approach, exploring the topic in an honest, grounded way that will help people who struggle with the issue. And letting each story show how love makes everyone's life bigger.

themes, language

24.Mar.20

Throughout his life, Patton felt like an outsider, knowing from a young age that he was gay. To survive, he moved to New York at 17. "And nobody came looking for me," he says. As a budding actor, he landed a key role in the original Broadway production of Robert Altman's Come Back to the Five and Dime opposite Cher, who took him under her wing. The film adaptation was his first movie, so he was a rising star when he won the lead in Elm Street 2. But after that, in the 1980s Aids-panic, no one would hire someone with even a hint of homosexuality around him.

Interviews with filmmakers and actors note the parallel between cinematic bogeyman Freddy Kruger and real-world killer Aids. So this doc becomes a vivid depiction of the shame and fear that flooded society, fuelled by an invasive media. So it's no wonder that Patton dropped out of the limelight. And 30 years later he finally embraced his identity as Jesse and began meeting appreciative fans at horror conventions.

There's a fascinating reunion where the cast members express some long-held opinions. The movie's director Sholder notes that Patton needs to find peace with screenwriter Chaskin over how he casually left Patton to bear the brunt of the abuse. And Patton's subsequent conversation with Chaskin is powerful. So even though this doc contains some great making-of material and the compelling story of a where-is-he-now actor, there's a lot more to it than that. It also gives this horror sequel an unexpected, important legacy.

language, language, violence

23.Feb.20