20th Mar2019

BFI FLARE: London LGBTQ+ Film Festival

by timbaros

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BFI Flare, London’s LGBTQ+ Film Festival, is back in its 33rd year and will take place from 21st – 31 March 2019.

It will be ten days of films and events for our community, a celebration of all things gay & lesbian & transgender that promises to offer a vibrant space for all of us who are able to attend. Flare will also be ten days of seeing people you only see during this festival – and a time to meet up and grab a drink or a cup of coffee in between screenings. It will also be a great opportunity to meet new friends and some of the filmmakers and actors.   
BFI Flare will present over 50 features, more than 80 shorts, and a wide range of special events, guest appearances, club nights and much much more. Here is a very brief summary of some of the highlights:
Flare will open with the period drama ‘Vita & Virginia,’ charting the passionate relationship between Virginia Woolf (played by Elizabeth Debicki) and aristocrat Vita Sackville-West (Gemma Arterton).
A must-see for the gay male crowd will most definitely be ‘Mapplethorpe,’ which stars sexy Matt Smith as the legendary photographer in this no-holds-barred exploration of the controversial and one of the most feted photographers. Another one for the boys is ‘Papi Chulo’ which stars Matt Bomer as a heartbroken gay television weatherman who forms an unlikely friendship with an older straight migrant worker.
Another must see will be the closing night gala screening of ‘JT Leroy.’ Starring Laura Dern and Kristen Stewart, the film tells the story of how Savannah Knoop (adapted from her memoir) became JT Leroy – a fictional character who came true to life and bedazzled New York’s downtown scene for years.
The UK premiere of ‘Jonathan Agassi Saved My Life’ takes place during the festival and paints a portrait of one of the world’s most successful gay porn stars – Agassi – in a life of highs and lows.
Anna Paquin and Holliday Grainger portray two women who fall in love in 1950’s Scotland in the film ‘Tell it to the Bees,’ while in ‘Rafiki’ two young Kenyan women attempt a relationship despite it being illegal in their country.
On the documentary front, a queer lucha libre wrestler is profiled in ‘Cassandro, The Exotico,’ while ‘Halston’ is a portrait of the American Fashion legend, complete with rare archive footage. Another legend, ‘Montgomery Clift,’ is profiled in the self-titled film in the search to discover who was the real Clift. ‘Tongues Untied’ features the work of black gay filmmaker Marlon Riggs, while in ‘Transmilitary,’ four soldiers risk dismissal to fight for transgender fights in the U.S. armed forces.
Events/debates include: Trans Creative at the Movies: a discussion that will feature transgender moments in film; At Lethal Lesbians will be a talk about how queer females are deadlier than the male species. In Operation Spanner: Then and Now – 16 men were prosecuted in the late 1980’s for their participation in consensual S&M sex sessions, will be explored in two short film and in a discussion. The Big Gay Film Quiz is back as well as the very popular Club Nights that take place in the BFI Southbank’s Benugo Bar & Kitchen – great weekend nights out to let your hair down and boogie the night way.
Also, don’t miss the The 25th anniversary screening of ‘Priscilla, Queen of the Desert’ which will take place during the festival.
Full details, and to buy tickets, please go to this link:
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08th Mar2015

Still Alice – Film

by timbaros

Julianne Moore realistically and achingly plays a middle-aged woman who develops Alzheimer’s in the new film Still Alice.

Moore, in the best performance of her career (and having just won the Best Actress Oscar for this film) plays Alice Howland, a highly successful college lecturer with a loving husband John (Alec Baldwin) and three grown children – Lydia (Kirsten Stewart), Anna (Kate Bosworth), and the very handsome Tom (Hunter Parrish). Alice lives a comfortable and happy life in Brooklyn, that is until she starts forgetting things. One day in class, she struggles to find a word that she’s used many times. Then one day on a run at her university campus she gets lost and disoriented. Worried, she visits a neurologist who tests her on her memory, and she’s unable to repeat a name and street he had told her to remember at the beginning of the session. Soon enough, Alice is diagnosed with early-onset Alzheimer’s disease. But it’s getting worse, and John and the rest of the family realize that it’s going to be hard and tragic to deal with her deteriorating condition. More memory lapses occur; at Christmas she forgets the ingredients to bread pudding, a dish she’s made at least one hundred times. And she reintroduces herself to her son’s girlfriend, minutes after just meeting her. Alice decides to record a video to herself, a video that gives instructions on where to find pills to kill herself if she can’t remember the answer to three personal questions. Meanwhile, she tries to get her daughter Lydia (visiting from Los Angeles where she had moved to pursue an acting career that’s going nowhere) to move back east to go back to school for a real career (and to be close to Alice). Unfortunately, Alice is still getting worse, no longer working, one day at her family’s beach house she can’t find the bathroom, and wets herself. It is up to John to pick her up and change her. Unfortunately, this is the reality of someone living with Alzheimers, and Still Alice perfectly and tragically captures this.

Moore is absolutely amazing. She gives a performance that is so real, so emotional, so tragic, and very raw. Moore spent time with Alzheimer’s patients to capture their every nuance, and she did. She is very deserving of the Oscar she has just won, her first after five nominations. She’s also picked up every Best Actress award given this year. Baldwin as her husband and Parrish as one of her sons are perfectly cast. Stewart, who is always broody and cold in most of her films, really shines through in this movie, being very supporting to her ailing mother. Directed and written by real life couple Richard Glazer and Wash Westmoreland, perhaps in response to Glazer’s battle with ALS, they have done an excellent job in providing a vehicle for Moore – it’s a perfect yet highly emotional film in every sense, and a must to watch just to see Moore’s performance.

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