The 25th Inside Out Toronto LGBT Film Festival 2015 - Review By Greg Klymkiw - Stirring Noam Gonick Documentary on the 2014 Sochi Winter Olympics - TO RUSSIA WITH LOVE ****

Let Gorgeous Johnny Weir guide you through the highs, lows, hatred, love, heartache and triumphs of the 2014 Sochi Winter Olympics in Totalitarian Russia.

To Russia With Love (2015)
Dir. Noam Gonick

Review By Greg Klymkiw

To Russia With Love (recently honoured as a nominee in the prestigious GLAAD Media Awards in New York) is a gripping feature documentary which casts an indelible eye upon both LGBT participation in sports and the repressive dictatorship of Vladimir Putin. In fact, it's not surprising at all that filmmaker Noam Gonick would be the one to fashion of one of the best, if not, frankly, the best of all documentaries dealing with human rights issues affecting the LGBT community in Russia during the 2014 Olympics in Sochi. First and foremost, Gonick is one of the more stellar leading lights of the Prairie-Post-Modernist Wave of cinema in Winnipeg; one that includes the likes of John Paizs, Guy Maddin, Deco Dawson and Matthew Rankin.

He brings his unique outsider perspective to anything he puts his mitts on; especially such seminal (as it were) works as 1919 (the brilliant re-imagining of the famed Winnipeg General Strike with a fantasia upon the late-lamented Wong's Steam Bath and Bill Sciak's legendary barber shop in Winnipeg's Chinatown), his intensely diverse feature films Hey Happy! and Stryker, plus his astonishing post-modern documentary Hirsch on the late, great pioneer of regional theatre as well as the saviour of the Stratford Theatre Festival and CBC Drama.

What's thrilling about Gonick's helmsmanship in this new film is just how skilfully he juggles several vital narrative threads revolving around Sochi and how he deftly creates several sub-arcs within the overall arc of the film's compelling narrative (and vitally important political, social and cultural issues). This is not mere "journalism" documentary, but genuine storytelling with a voice (one which he shares so much with his more "out-there" works as well as his more "straight"-up television work and his brilliant doc on Guy Maddin, Waiting For Twilight).

The film follows several Canadian LGBT athletes during the buildup, then participation and finally, the aftermath of the 2014 Sochi Olympics. He weaves these stories (which include insights into the openness and acceptance of the athletes' families) with three central narratives.

RUSSIA's LGBT community under ATTACK!

Perhaps the central non-fiction tale involves the stunningly beautiful and handsome former Olympic skater Johnny Weir who will be covering the proceedings for broadcast television. Weir in not only charming, funny and erudite, but he's delectably flamboyant and a lifelong Russophile (which makes the country's "legal" castigation of the LGBT community especially painful for him).

Weir uses his position as a behind-the-scenes activist and spokesperson whilst brilliantly adhering to the Olympic Committee's moronic demands that all Sochi participants (athletes, broadcasters, administrators, etc.) maintain complete silence about "political" issues. Christ, since when have the Olympics not been political (as Gonick superbly touches upon)?

Weir's narrative melds with two important story strands; one involving an all-LGBT sporting competition to occur in Sochi just after the Olympics and the other, perhaps the most moving of all the stories, Vladislav Slavskiya, a teenage gay man who lives in Sochi and who has experienced the most horrendous verbal, physical and sexual abuse at the hands of homophobic students and teachers in his high school and longs for an opportunity to find a place in the world where he can be proud and accepted for whom and what he is. (There's even an unbelievably moving development which occurs during his plight with the famously-out Billie Jean King.)

Overall, Gonick wrenches us this way and that, as all great filmmakers should. He makes superb use of the many ups, downs, happiness and melancholy that the entire Sochi experience is infused with to deliver a film that's entertaining, informative and finally, must-see viewing for all audiences, gay or straight, all over the free (and not-so-free) world.

THE FILM CORNER RATING: **** 4 Stars

To Russia With Love is playing at the Inside Out 2015 Toronto LGBT Film Festival. For further info, please visit the festival's website by clicking HERE.

Full Disclosure: During the early 90s in Winnipeg, my film production office shared the same floor as the artist apartment in the old Plug-Inn Gallery space above U.N. Luggage. Noam Gonick lived there for a time and we'd often catch occasional (mostly attired) glimpses of each other. I only shared Noam's bed when I was visiting as it was the most comfortable place to sit. I also never shared a bubble bath with him as filmmaker Deco Dawson (above left) clearly did. Noam has, however, fed me brisket, for which I am eternally grateful.

The 25th Inside Out Toronto LGBT Film Festival 2015 - Review By Greg Klymkiw - An Absolute Must-See of the Festival: LIMITED PARTNERSHIP ****

Limited Partnership (2014)
Dir. Thomas G. Miller

Review By Greg Klymkiw

For a married couple to live in fear of being torn apart by fascist government officials, 24 hours a day, everyday, for over 40 years is absolutely unfathomable to me, but Limited Partnership, Thomas G. Miller's powerful, gut-wrenching portrait of love under attack comes about as close as any film could to putting one in the shoes of those innocents who experienced prejudice, hatred and cold, calculated castigation.

This is not some Third World country (though these days, that's open to debate) or blood-thirsty dictatorship (though these days, that's open to debate) or, say, Russia (never open to debate). What we experience in this film happened within a democracy (though these days, that's open to debate), the leading world power (though these days, that's open to debate), the land of the free (though these days, that's open to debate), the home of the brave (though these days, that's open to debate), the United States of America (never open to debate, but the country hides its hatreds a teensy-weensy bit better than Russia).

It's a beautifully crafted documentary with a superbly edited narrative arc. If it were a drama, screenwriting gurus like Syd Field and Robert McKee would be slavering over it. Ultimately though, it happily wanders enough off the beaten path that one never feels the picture is, in any way, shape or form a run-of-the-mill exercise. In fact, the movie slowly takes you surprise with its tone and structure. At first, you're following along, feeling like you're watching a decent "journalistic" style TV doc about an interesting subject, but all that dissipates as director Miller plunges you into the thick of his deftness and artistry as a filmmaker and soon enough, you're torn apart and dazzled - in equal parts - by his eventually "silent" filmmaking which leads you on the journey of its subjects to the point where you're so involved that you feel their emotional roller coaster ride to the very end.

Most people will have a cursory knowledge of the tale; two men, one American, one Australian, meet in the early 70s within a happening L.A. gay bar, fall madly in love and later, hightail it to the glorious "Centennial State" of Colorado (with the coolest flag in all America).

A forward-thinking clerk in Boulder, is issuing marriage licenses to same-sex couples, and our couple, the quiet, gorgeous, smoothly textured Filipino-born, American-raised Richard Adams and hunky, square-jawed, flamboyantly erudite Australian Tony Sullivan (Adams reminds me of 90s HK superstar Simon Yan whilst Sullivan seems a perfect cross between Russ-Meyer-Roger-Corman stalwart Charles Napier with healthy dashes of Richard Harris) get hitched - legally.

Like, Hello! This is over 40 years ago.

However, when the couple applies to make Aussie Sullivan a naturalized U.S. citizen, they are denied - OFFICIALLY - on the grounds that they "have failed to establish that a bona fide marital relationship can exist between two faggots."

So in spite of being legally married, the federal government refuses to recognize it and thus begins a harrowing 40+ years battle which, under the helmsmanship of director Miller, plays out as both a tremendously moving love story and an edge-of-the-seat political thriller.

This is an important film and an absolute must-see for its subject matter as well as its filmmaking prowess. It's also worth noting that films like this would not exist without the very brave support of American public television genuinely independent voice [ITVS] and its [i]ndependent lens series. A few things in America are good.

THE FILM CORNER RATING: **** 4 Stars

Limited Partnership is playing at the Inside Out 2015 Toronto LGBT Film Festival. For further info, please visit the festival's website by clicking HERE.

MATT SHEPARD IS A FRIEND OF MIND - Review By Greg Klymkiw - He's a friend to us all

Matt Shepard
is a Friend of Mine (2015)
Dir. Michele Josue

Review By Greg Klymkiw

Michele Josue manages to pull of the near impossible. She not only tells us a very personal story about her friendship with the sweet, brilliant young man named in the film's title, she constructs a biographical documentary of his life, whilst etching an indelible cinematic portrait of his unique spirit and character. Josue is so successful juggling these elements that I left the cinema wanting to be Matt Shepard's friend too. In fact, I can't imagine anyone seeing this film and not feeling likewise.

What a great guy!

In spite of the fact that this is a film, it uncannily manages to do what only the best cinema can do by using all the gifts and wonders the medium can bring to bear upon a subject and plunge us deep into its very essence. Matt Shepard might well be Josue's friend, but she's neither self-tub-thumping the fact, nor is she hoarding this beautiful human being all to herself.

Matt Shepard is, indeed, a friend to all of us.

First and foremost, because he is a human being and we're given this opportunity to get to know him. Granted, it's a mere ninety minutes of running time, but Josue expertly weaves home movies, photographs, interviews with friends, family and teachers, Matt's private writings and his vast correspondence with all those dear to him. It seems, no stone is left unturned.

Sadly, none of us will ever really get to know him, but Josue's created the next best thing.

Josue begins with what ended Matt's life. On Oct. 12, 1998 in Laramie, Wyoming, the 21-year-old Matt Shepard was beaten, tortured, tied to a fence and left for dead. For all intents and purposes, he might as well have been. He died soon after in hospital. A young life, so full of promise, was cut short by a senseless act rooted in hatred.

Matt Shepard was murdered by two hate-filled young men because he was gay. Even harder to believe is the news footage of supposed Christians parading homophobic, hate-spewing filth on placards and hurling anti-Gay invective from their mouths when Matt Shepard's life was being celebrated at his funeral.

In death, however, Matt Shepard became a symbol, an emblem, a trademark if you will, for the anti-hatred lobby. Josue's film does not ignore this important element of Matt's legacy and weaves it into the fabric of the film superbly. Still, though, we come back to what Josue does so well - she gives us Matt in as much glory as possible.

We learn about his charmed childhood, his loving family, his delightful antics in childhood like leaving pretty stones in the mailboxes of his neighbours, dressing up as Dolly Parton for Halloween and always being the centre of attention - not that he demanded it at all, but rather, he was such a dazzling, compelling young man that he naturally commanded it. We're privy to his private struggles with coming to grips with his sexuality, to be sure, but that's merely one element of seeing a young man blossom as he searches for everything he's all about. His love for family, friends and travel seemed limitless. His sense of humour and sensitivity unparalleled. His time during an American boarding school in Switzerland becomes almost magical. Sure, we're in the Alps. That's damn magical, just as it is when we follow him on trips with his friends throughout Europe. However, what is magic, real magic, is his love for his friends and theirs for him.

If anything, the magic of this film is love and most of all, the love Matt Shepard gave.

There is darkness in his life. Vacationing with his school chums in Morocco turned into a nightmare that never seemed to leave him when he was beaten and gang-raped in a dark Marrakesh alleyway by six thugs. Here, his life did indeed change. He began to carry himself inwardly, like a victim. He kept his pain to himself. He stopped his activities in the theatre and became a haunted shell of who he once was.

Most of all, he wanted to come home. This meant returning to his home state of Wyoming where he enrolled in college in the small city of Laramie. Here, he seemed to begin to find himself again. Here, he was at home. Here, was where Matt Shepard was kidnapped, beaten and tortured to death for being gay.

The anger and frustration one feels just watching this play out seems almost incalculable - even as a mere viewer of a film. One can't even begin to imagine the feelings of Matt's family and friends and by extension, the whole community of mankind that expressed and felt the deepest shock over someone being murdered simply out of hatred. Josue nails it here, though. She introduces an element into the film in its final third that presents a deeply harrowing, haunting, moving and finally spiritual sequence which forces all who watch it to look into the mirrors that reflect their own souls.

This is one great documentary. Try to see it in a movie theatre with the fellowship of other human beings. You'll all be soaring.

Matt Shepard is a Friend of Mine begins its theatrical Canadian run via VFRPR at the Magic Lantern Carlton Cinemas in Toronto February 20th, 2015, with additional cities and screens to follow across the country. Judy and Dennis Shepard, Matt Shepard's Mom and Dad to host select opening weekend screenings. If it's not yet playing in your city, DEMAND IT! Matthew's memory has been enshrined in the good work of the Matthew Shepard Foundation and in the passage of the The Matthew Shepard and James Byrd, Jr., Hate Crimes Prevention Act of 2009. Be sure to read Remarks by President Obama at a Reception Commemorating the Enactment of the Hate Crimes Prevention Act by clicking HERE.

In Canada - BUY GAY THEMED FILMS HERE, EH!

In USA and the rest of the world BUY GAY THEMED films HERE

TO BE TAKEI - Review By Greg Klymkiw - Kuchar Bros. Film Biographer Jennifer M. Kroot serves up superb doc on Star Trek's Mr. Sulu @TIFF BellLightbox followed by a DVD Release via Anchor Bay Entertainment Canada

NOTE: The Film Corner's Star Ratings will now appear at the end of the review.

One of Takei's favourite movies as a kid was Errol Flynn
in the classic swashbuckler The Adventures of Robin Hood.

During a celebrity roast, Mr. Takei carves
William Shatner up like a RUMP ROAST.

To Be Takei (2014)
Dir. Jennifer M. Kroot

Review By Greg Klymkiw

Most of us know George Takei as Mr. Sulu the stalwart Asian helmsman of the multi-racial S.S. Enterprise crew on Gene Roddenberry's Star Trek, the immortal science fiction television series (and its subsequent blockbuster feature film spin-offs). In recent years, however, Takei has become a symbol of Asian actors who broke out of the offensive stereotyping American drama prescribed for our Asian brothers and sisters. Maybe most important of all, Takei has been one of the world's most tireless champions for Gay Rights and in particular, Gay marriage. As Star Trek is surely the greatest television series ever produced, Mr. Takei is one of America's most important actors and activists. With this in mind, it's fortunate for Takei and audiences all over the world, that his documentary biographer is the extraordinary Jennifer M. Kroot who studied under the late, great filmmaker George Kuchar and went on to direct It Came From Kuchar, the ultimate big-screen love letter to her mentor George and his brilliant brother Mike - two filmmakers who defined 20th century cinema.

Kroot's sophomore effort proves she's no one-trick pony and has carved a lovely niche for herself as one of the medium's best documentary biographers and, in fact, can be considered as one of the foremost filmmakers working in America today. To Be Takei is absolutely joyous - a funny, touching and compelling portrait of a great, great human being - so much so that you'll only be disappointed that the picture eventually ends. Her first-rate DNA-hardwired filmmaking prowess is responsible for leaving us wanting more, in all the best ways. The movie is as close as we're likely to get to actually being able to mainline Takei as if he was the purest heroine. And yes, she's chosen an ideal subject, but her skill and artistry as a filmmaker is what ultimately raises both Takei and the film to stellar heights. By focusing so resolutely on his achievements with all the aplomb of a master storyteller, Kroot has made a movie that not only dazzles, informs and entertains, but is - without question - as important a film as any of us really want all of our film experiences to be. Such is the living legacy that is George Takei.

At 77 or 30, George Takei is the epitome of HOT!

And such is the consummate artistry of Jennifer M. Kroot that she spins the Takei yarn in the context of 20th Century American history. If you ever wanted a portrait of pre-War life amongst Asian Americans, you'll get it here. If you've yearned for a deeply moving and personal exploration into America's racist policies of interning Japanese Americans in concentration camps upon the attack of Pearl Harbor, you've got it. If you're interested in the childhood memories of life in such a concentration camp from the erudite, detailed perspective of a 77-year-old man, Kroot delivers the goods. For a portrait of a young Asian actor finding his place in an American Cinema replete with disgraceful stereotyping, look no further. If you've a hankering for an illuminating look, through the eyes of said actor, at American television and film history from the 50s to the present, To Be Takei offers a riveting, informative window into the last half-century and beyond. As well, the themes of burgeoning sexuality in a repressed America, living in the closet, coming out of the closet (when the dough-headed, at-the-time California Governor Arnold Schwarzenegger vetoed the state's same-sex marriage legislation) and a fervent commitment to activism, fill the film to overflowing.

If, perhaps most movingly of all, bearing witness to the deep love between two wonderful human beings, Takei and his spouse Brad Altman, you'll discover it here.

And then some.

The aforementioned to-die-for grocery list of sumptuous morsels to tantalize, tickle and touch, doesn't even include Takei's brilliant use of social media, his stellar political career, his unwavering support of public transit, his longtime on-air creative relationship with the insanely brilliant shock-jock Howard Stern, his open and generous relationship with fans and his astounding, obsessive and triumphant production of Allegiance, a musical (!!!!!) about the internment of Japanese-Americans.

Hell, if sainthood wasn't tied so inextricably to the evils of Catholicism, George Takei would be an ideal candidate for such lofty canonization and it's this very thing, Takei's importance and impact upon 20th Century (and beyond) culture, which is what makes Kroot's film so damn terrific. There's no need to provide a warts-and-all look at this great man. There are, so to speak, no warts. There is, however, considerable conflict in his tale which Kroot manages ever-so-deftly to provide a stirring narrative.

dif tor heh smusma - WORDS TO LIVE BY

One of the coolest revelations in Kroot's film, at least to me (being the inveterate John Wayne lover that I am) is the regard with which Takei speaks of "The Duke" giving him a juicy starring role in his epic blockbuster war extravaganza The Green Berets (you can read my own in-depth review of the film HERE). It's a movie I love deeply, in spite of its clearly skewed politics, but the fact remains that Wayne, like it or not, broke incredible ground by choosing to make a Vietnam War film at the height of a war that was, and still is, one of America's many dark hours.

That said, seeing this reasonably extended segment in Kroot's film reminded me of how important it is for artists - especially those with "pull" - to always seek out that which is as audacious and unheard of as Wayne did. To not only give Takei a rich role in a high-profile film suggests Wayne's acumen as a filmmaker, but reminds me of how many such individuals, including Takei, pushed all manner of limits - artistically and politically. As well, Kroot's film contrasts this with the horrendous use of Takei in a stupid Jerry Lewis comedy which moronically fell back upon the racist stereotyping of Asians. Takei's regret in this regard, is deeply and profoundly moving.

Needless to say, Takei's regard for Wayne is also touching as is his respect for the visionary genius of Gene Roddenberry to realize that a futuristic space voyage on the scale depicted in Star Trek would, in fact, have to be populated with a multicultural crew.

Kroot herself populates the film with a multitude of faces, places and media to relate this great story. Using archival clips and photos, as well as a variety of all-new interviews (expertly handled, by the way), she boldly takes us to places no documentary biographer has dared to go by affording herself with all the available tools anyone might use, but does so in a fashion that's so seamless, we never feel weighted down by tropes, but instead are veritably cascaded on a journey that takes us into Takei's heart and mind, and in so doing delivers a portrait of life, politics, art and history.

Some of the more delightful interviews come from expected and not-so-expected places. The talented young actor John Cho (the current Sulu and co-star of the hilarious Harold and Kumar films) discusses the childhood thrills he (and his family) experienced whenever Takei came on screen. Sex columnist Dan Savage points out the obvious - how unbelievably HOT Takei is. And perhaps the most literate and heartfelt thoughts come from the great actor/director Leonard Nimoy who shared the Star Trek stage with Takei as everyone's favourite Vulcan, Mr. Spock.

And in the words of Mr. Spock, Kroot has fashioned a film that will ensure that George Takei will "Live long and prosper" - for now and forever.

THE FILM CORNER RATING: *****
5-Stars, Highest Film Corner Accolade

To Be Takei is platforming theatrically across North America with a flagship engagement at the majestic TIFF Bell Lightbox in Toronto, to be followed by a massive home entertainment release via Anchor Bay Entertainment Canada and Anchor Bay on October 7, 2014. Feel free to order directly from the Amazon links below.

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CALL ME KUCHU - Review By Greg Klymkiw - Jesus was a carpenter, but He does not appear to have ever beaten homosexuals to death by crushing their skulls with hammers. This, however, did not stop Christians from committing this horrific act of murder upon an innocent man in the hallowed name of JESUS CHRIST.

Call Me Kuchu (2013) *****
Dir. Katherine Fairfax Wright, Malika Zouhali-Worrall

Review By Greg Klymkiw

Dear Christians (substitute your organized religion of preference):

You are NOT Christians if you practice what Jesus Christ (substitute your deity of choice here) did NOT preach. You are little more than ignorant, hate-filled, hate-mongering, mean-spirited and quite possibly insane acolytes of Satan (whom I realize is a fairy-tale creature not unlike equivalent prevaricated notions of God, but SO real to the ignorant that He - or they - might as WELL exist).

Your hatred is so deep-seeded and foul that it not only inspires deep sadness in those who recognize it, but can also reduce those same individuals to an equivalent level of hatred towards YOU.

Yes, YOUR hatred BREEDS hatred - not only that which affects those you seek to castigate, but those who would be sickened to one day look in a mirror and discover that hatred is etched upon their own faces - towards YOUR ignorance, of course.

There is, however, no room for hatred of ANY kind.

With respect, Greg Klymkiw

Try as I might, I can't even come close to maintaining any sort of critical balance in what's proven to be a very difficult film to write about. My attempts to put any words down have been thwarted by tears whenever I need to recall moments from this brave, important work of documentary filmmaking.

Call Me Kuchu tells the story of those brave people in Uganda who exposed themselves to ridicule, scorn, abuse and murder when their government began to draft legislation (not surprisingly with the assistance of AMERICAN Christians) calling for the criminalization of homosexuality as a capital offence. (Lifetime imprisonment for being gay IS. in my humble opinion, tantamount to legalized first-degree murder.)

Though sadness courses through me in an almost debilitating fashion whilst considering the virtues of a work of art that details how low the world has plunged, it would be remiss of me to ignore that many of my aforementioned tears are positive outpourings. Ultimately, it is the heroism of those victims depicted in the film which inspires hope - elation, if you will, that's beyond my wildest dreams.

If it proves anything, Call Me Kuchu proclaims - LOUD AND CLEAR - that there are good people in this world who DO make a difference, even though the vast majority seem irredeemably susceptible to the barrage of hatred perpetrated by power brokers. The film provides both platforms and they are equally chilling and harrowing, but make no mistake - no matter how much of the film seems almost liturgical in its portrayal of suffering, it is a movie about sacrifice of the most positive kind.

Certainly the sacrifice of one of the movie's central figures, a gay man who is the first person in Uganda to come out and publicly announce his homosexuality, is nothing if not Christ-like.

The movie opens with a private, secret celebration of the love between two men - the closest we'll see in Uganda to a "wedding anniversary" between a same-sex couple. There is a cake, there are smiles, there are hugs and kisses - actions of tenderness. These are juxtaposed with images of Christian and political leaders spitting venom of verbal hatred towards homosexuals "in the name of Jesus".

Jesus, however, would weep. His name is clearly being taken in vain.

Some might argue that such an opening is obvious and manipulative and they'd not necessarily be wrong. This doesn't mean it's clumsy and/or dishonest filmmaking - it is, in fact, the very vital sledge hammer of artistic righteousness that many of our best films possess. The hatred that consumes Uganda towards homosexuality is not only uncharitably un-Christian, but it flies in the face of love and in particular the purity of love as preached by Jesus Christ.

The film is effectively structured for both maximum dramatic impact and as a document of a truly despicable period of contemporary history. It introduces us to several important figures during this recent battle and we experience the story as it actually unfolded (and continues to unfold).

We meet activists who put their freedom and lives on the line to defend the basic human rights of homosexuals in a country that - by law - does not regard sexual choice beyond a traditional nuclear family as a human right at all. In fact, homosexuals are not even viewed as human, but chattel gone wrong and in need of extermination.

As the narrative plunges us ever forward, we learn that the Bill proposes life imprisonment for all homosexuals and the death sentence for all acts of "aggressive" homosexuality (defined as constant and non-curative acts of "aberrant" behaviour). It calls for prison sentences to anyone who knowingly does not report homosexuals to the authorities (including parents and other loved ones of said homosexuals) and shockingly, makes AIDS/HIV testing illegal.

The fear-mongering includes the "facts" that family values are under attack, that the "homosexual agenda" is to recruit children to homosexuality and, of course, to rape children. Even the media in Uganda joins the fight against the "Gay Scourge" by outing homosexuals in print. This leads to innocent people - whose names and photographs are published in Uganda's leading newspaper - to be hunted down on the streets and beaten (and outright murdered). Even the clergy joins the bandwagon - prominent American evangelical leaders are invited to speak at rallies to incite even more hatred. The few Ugandan religious leaders who assist homosexuals are defrocked by their churches. One Bishop is stripped of his powers for helping homosexuals in their fight for basic human rights

And yes, rape does occur amongst homosexuals - only they're the recipients of it. The government encourages brave, virile men to rape lesbian women in order to cure them.

The most compelling tale told, though, is that of an activist who is eventually beaten to death by Christians who bash his skull in with hammers.

The last time I checked, Jesus was a carpenter, but I do not believe he hammered anything but wood. In Uganda, as in Russia and America, Jesus does not turn the other cheek. He commits murder.

Enjoy.

"Call Me Kuchu" is in theatrical release via Kinosmith.

VALENTINE ROAD - Review By Greg Klymkiw - Klymkiw HOT DOCS 2013 HOT PICKS

Valentine Road (2013) ****
Dir. Marta Cunningham

Review By Greg Klymkiw

Two boys. One 15, the other 14. Their home: Oxnord, California - a tiny town amidst bucolic orange groves and smack dab along the Pacific Ocean. Some would call it a paradise, but for Lawrence "Larry" King and Brandon McInerney, Hell in Sun-Dappled Clothing might be a better name for this repressed, racist, homophobic, intolerant backwater. There are, at least on the surface, many positives when weighing the attributes of the Country over the Town, but in many cases, solitude, fresh air and natural beauty - for those who can, uh, think (at least for themselves) - must take a back seat to the numbing negativity of narrow-minded hatred of anything viewed as outside of the perceived norms.

I know this all too well. I've had one toe in the Town and the other toe in the Country for most of my life and the virtues of the latter, while vital on many levels for me, are equally stifling on the other.

There were, while watching Marta Cunningham's finely etched documentary portrait of tragic events in Oxnord, similar dichotomous feelings on emotional levels (though aesthetically I was all for this). Valentine Road is, without question, thrilling filmmaking that crackles with the power of a great procedural thriller, but the effect overall extends well beyond that as we're forced to face the genuine reality of the tragedy that unfolds. One moment we're tantalized by the sheer virtuosity of the filmmaking and the next, Cunningham steers us into territory that's heart wrenching to the point where one is moved to tears - perhaps even stifled sobs.

The facts, you see, are these:

One boy is flamboyantly gay, the other is a potentially burgeoning white supremacist. One is now dead, the other is spending 21 years in prison where, given his age and good looks, is no doubt "enjoying the benefits" of sexual abuse and eventually seeking the protection of being another con's "bitch." And these, are just the surface facts. Cunningham draws us into the true story by painting a portrait - an extremely graphic and horrifying one at that - of a young gay man's flirtatious action leading to his murder before shocked classmates and teacher while at school.

Using a blend of actual security video from the school, crime scene photos, police interrogation room footage, short bursts of animation, tv news and current affairs clips and powerful new interviews with students, parents, cops, lawyers and teachers, Cunningham manages the near impossible - we're sucked into the tale with certain perspectives then subtly drawn into completely different ones. One might say there's ultimately a balanced approach to the tale, but thankfully it doesn't take the form of the (for me) dreaded journalistic approach, but comes closer to that of the rich ambiguities one finds in the work of many great filmmakers - whether it be Antonioni, Resnais, Peckinpah, Haneke, Lynch or, among others, Aronofsky.

What's extraordinary is Cunningham's perfect balance of manipulation (great cinema MUST do this, it's only a problem when we notice it to the point where we're taken out of the drama) and the kind of ambiguity that holds onto the central conflict with the strength of a pitbull's jaws - shaking it up, but never letting go. This feels, of course, as much a triumph of direction as it is the dazzlingly brilliant editing by Tchavdar Georgiev and Yana Gorskaya.

Valentine Road is ultimately an essential film. First of all, for its exemplary use of cinema as one of the great art forms of all time, but perhaps most vitally, its use in reaching those who will most benefit from it - children. The film achieves its attributes that it will have no problem preaching to the converted, but Cunnigham's approach is so dazzling and intelligent that the movie has the potential to go far beyond the rarity of film festival audiences, art houses and HBO viewers. This movie must be seen as widely as possible - especially in schools, especially in the "country".

The intolerance displayed in the school where poor little Larry was gunned down and where his killer suffered years of physical abuse (ignored by those who should know better) is, as seen in the film, appalling. The lack of attention paid to the students after the killing, the lack of counselling and, I think, most egregiously, the horrendous treatment of the warm, brilliant, open-minded teacher who held Larry in her arms after the shooting and continues to suffer post traumatic stress disorder, are all important reasons why America (sadly, in particular) must embrace this film. It must be shown to every educator, every member of the education system, every child, every parent, every bureaucrat, every politician - everyone.

On one hand, I'd normally say there's a snowball's chance in Hell of that happening, but if enough Americans who see this film lobby all their school boards, their politicians and frankly, President Obama himself - lobby constantly and vociferously - this is truly a film that is imbued with the power to change.

Do it!

"Valentine Road" is playing at the Hot Docs 2013 Film Festival. For tickets and showtimes, visits the festival website HERE.

CONTINENTAL - Review By Greg Klymkiw - Klymkiw HOT DOCS 2013 HOT PICKS

Continental (2013) ****
Dir. Malcolm Ingram
Starring: Steve Ostrow, Sarah Dash, Holly Woodlawn, Edmund White, Frankie Knuckles

Review By Greg Klymkiw

You're a businessman. You're looking for a business. Something new. Something exciting. Something challenging. Something needed. Really needed. Now, if you're a great Big Apple businessman like Steve Ostrow was in 1968, you identify the hole and you fill it.

The hole Ostrow identified was deep, dank and dirty. It not only required filling, but demanded to be packed good and hard.

Ostrow was not only a great businessman, he was a flamboyant, forward-thinking visionary - an artist, if you will - so much so, that his true passion was not necessarily the free and open marketplace, but opera. More specifically, Ostrow was a gifted singer and he desperately wanted to project his gorgeous voice on an international stage - to sing in the great opera houses of the world. This, sadly, just wasn't in the cards. He was a husband, a father and he had mouths to feed and bills to pay. In those days - in fact, in most days - a mensch, a real mensch did not shirk away from his responsibilities.

At this time, the free and open marketplace was not quite free and open for his grand idea - especially not for the prospective clientele since their place in the world was not a matter of choice, but hardwired into their very being. In spite of this, homosexuality was illegal and a whole generation of men were ostracized, vilified and hunted down like common criminals for just being who they were - gay.

Many of these men were in the closet. Coming out at that time meant risking everything, so they stayed burrowed in their secret society and surreptitiously sought places off the well-trodden paths to exercise their God-Given right to be who they really were. This forced them into clandestine bars and clubs, but the risk here was even too great, so instead they sought anonymity and sexual solace in steambaths.

Ostrow changed everything. He wanted to run a steambath that wasn't some horrific, unkempt and dingy hovel - he wanted a clean class act for gay men to frolic in.

And so he bore - at least up to that point in his life, his true masterpiece - the Cadillac of gay steambaths, the immortal Continental. Here his clientele were treated as human beings, with respect. Ostrow gave them a class act to pursue their sexual expression. Once he erected his glistening Crown Jewel of steambaths, he didn't rest on his laurels and merely count his shekels - Steve Ostrow always kept several steps forward of the game and his game.

In so doing, The Continental Baths became more than a mere bathhouse - Ostrow created one of the major landmarks in Gay Rights and one of the hottest, most cutting edge launch pads for a myriad of performing artists. Yes, live entertainment, ladies and gentleman. If the action got too steamy in the baths and you sought more, shall we say, restful heat, you could wrap a towel over your genitals, retire to the performing space and watch the likes of Bette Midler (backed up on piano by Barry Manilow, no less).

For a steam bath, the Continental was red-hot and COOL - double your pleasure and double your fun!

It's a great story made even greater by Malcolm Ingram's first-rate feature documentary Continental.

This is one terrific picture. Ingram pulls out all the stops to tell a story that's brash, bold, funny, inspiring and ultimately deeply moving. He does so in such a way that the movie is full of surprises (many happy ones) and always, much like Ostrow's life, a rollercoaster - with all the requisite ups and downs. (Mostly "ups" - "downs" are downers, but they're necessary for those "ups" to be higher and harder.)

Ingram has always been a take-no-prisoners filmmaker and someone I've admired from the beginning of his career. He wanted to make movies - in Canada. Did he initially go knocking on the doors of government agencies. No. He knew his brand of filmmaking would have doors slammed upon it. He made his first film, the insanely odball Drawing Flies which made a virtue of its no-dough status - ON FILM YOU WHINING FILM BRATS!!! ON FILM!!! He made it initially with chicken scratchings and then, with a huge helping hand from Kevin Smith and his View Askew productions, Ingram delivered the picture which, in my humble opinion, has some of the funniest, weirdest writing in Canadian cinema - and that, my friends, is saying something. Smith, of course, was the original graduate of the If-You-Want-To-Make-a-Movie-Quit-Fucking-Whining-About-It-And-Just-Make-The-Fucking-Thing School. Ingram comes from the same stock and by any means necessary, he kept making movies including the all-star cast youth comedy Tail Lights Fade in which he partnered with Canadian Über Producer Christine Haebler and then he went to ground zero and cobbled together enough dough to make two of the best and seminal gay-themed docs of the new century - Small Town Gay Bar and (my personal favourite) Bear Nation.

Well, he's blown all of them away. With Continental, Ingram has hit the stratosphere and delivered Ostrow's tale with clarity, a wonderful sense of celebration and good old fashioned solid filmmaking. He delivers a sense of time, place and history and by the end of the film, he generates a work that is chock-full of elation and yes, one that is genuinely, deeply and profoundly moving.

Ingram aimed for the stratosphere with this one and damned if he doesn't blast right through the celestial fucker.

"Continental" is playing at the Hot Docs 2013 Film Festival. For showtimes and ticket info, visit the Hot Docs website HERE.

VITO - Review By Greg Klymkiw

Vito (2011) dir. Jeffrey Schwarz

****

Review By Greg Klymkiw

Growing up in New Jersey during the 1950s, young Vito knew early on that he wasn't like the other boys. Though warm and quick-witted, he was smack in the middle of post-war Italian Catholic machismo and always felt out of place amidst the rough, and tumble posturing of his peers.

Besides, Vito loved movies more than anything.

At an almost insanely early age, he was the first in his family to figure out how to use public transit. Most of his relatives and their friends never bothered to leave the neighbourhood. Vito, on the other hand, had little use for the insular world afforded to him by Jersey. Venturing into Manhattan yielded unrestricted access to his first love - the movies.

Following closely behind his passion for celluloid was Vito's burgeoning manhood - all the normal hormones raging, this led to an even greater discovery. In New York's Central Park, a seemingly endless line of park benches were filled with other men - all ages, shapes and sizes.

And they were all looking for the same thing.

It was here that Vito found acceptance amongst his "own kind" and discovered the joys of fleshly love. Mad, passionate, anonymous encounters were just what the doctor ordered. Alas, the doctor's name was Jekyll, furtively hiding the "beast" within - the Mr. Hyde of sexuality.

In the 50s and 60s, "aberrant" desires alone were enough to represent the influence of Beelzebub himself, but the very fulfilment of said desires not only instilled shame and a need for secrecy amongst the denizens of this secret club, but the one place that should have offered understanding, compassion and sanctuary did nothing of the kind.

Vito began confessing his "sinful" dalliances every week to the parish priest who gravely warned him that eternal hellfire would be the result of saluting the Rainbow Flag. Eventually, the less-than-kindly man of God blew his top (not the one that "counts") and declared he would no longer grant absolution to our young, gay Vito. He would be denied the flesh and blood of Christ until resolving to stop these sinful practises.

Though Vito always knew he was different, he had now found those who were likeminded, but instead of celebration, he and so many other homosexuals discovered that discrimination, disdain and outright hatred was packed into the pot at the end of the rainbow.

This, decided young Vito Russo, was wrong.

And he was going to do something about it.

Jeffrey Schwarz's superbly crafted feature documentary is dazzling! Vito, an always-compelling biography of a young man who became the most important activist for the rights of gay people in America is a movie that crackles with intense dramatic resonance. With peerlessly selected and edited archival footage, blended with new interview material, Schwarz delivers a movie that's as entertaining as it’s incendiary, as soaringly joyful as it is profoundly moving.

Following Vito’s incredible story in any way, shape or form would hold one’s interest, but Schwarz assembles the material with such drive and passion that watching the movie inspires the same feelings one gets whenever one is utterly smitten with a call to arms. Here, though, it’s a veritable cross-country road race of emotion. Schwarz places you so expertly in the various periods of Vito’s life while at the same time he manages to carve out actual nuance of character so that we’re embroiled in the narrative, swept along with the tide that is Vito and at times, impelled to action (or at least to imagine we are).

Granted, Schwarz has a phenomenal subject, but he delves into said subject with all the skill and artistry he can muster to deliver a movie that’s part biographical narrative, part history lesson (albeit a very thrilling one) and finally, utilizing all the skills and craft of a seasoned documentarian, he blasts through the barriers of expectation in the genre to keep us on the edge of our seats.

Astonishingly, for anyone who knows the arc of Russo's life, you're still sitting there hoping, almost demanding it will not go where you know it's going to go. And even when it gets there, Schwarz deals his cinematic cards so deftly that he delivers a climax and denouement that even the "converted" will be thrilled with.

Vito Russo's brilliance, understanding, wit, sensitivity and desire to bring people together were instrumental in rallying the Gay Nation to demand the same rights afforded to ALL Americans and allow them a safe, free and fulfilling life. Almost every major rally and protest involving gay rights was led with the commanding presence of Russo - brave, articulate, visionary, strong as steel and an orator of considerable panache and persuasion.

His love for movies, let to groundbreaking research in the field of gay images in film and resulted in "The Celluloid Closet", one of the most important books in the canon of cinema scholarship (and a bestseller to boot). Russo turned the book into a live performance/lecture with clips and toured it for 10 years. This resulted in his stirring activism that inspired a whole movement that challenged and examined gay imagery in popular culture.

And lest we forget Russo's most important and passionate fight during the AIDS epidemic when an entire generation of young men suffered, died and did so mercilessly when the American government and pharmaceutical companies turned a blind eye to this horrendous disease and the Right Wing Bible Thumping psychos used it as proof positive that God was punishing these aberrant sinners.

Russo, of course, would reject it from the grave, but if anyone deserves canonization in recent history, it's Vito.

Vito Russo fought for Gay rights, but in so doing, he fought for all of those who felt marginalized, disenfranchised, ignored, bullied and condemned. The Queer Nation is such a vital segment of the human experience that it's impossible to think where civilization would be without the input and influence of Queer Culture.

Jeffrey Schwarz, in making this important film is part of that contribution. This is a movie that MUST be seen by as wide an audience as possible and frankly, it's not enough for the film to appeal to only the "converted". Vito's story and the manner in which it's rendered by Schwarz yields a film that DEMANDS being utilized by every educator as an audio visual teaching aid within the syllabi of every middle school and high school. It is history, and as such should be presented with all the vitality educators can muster when they present overviews of how our lives were shaped by individuals and events of the 20th Century.

As a film, Vito places emphasis on what is, at least for me, the most important element that imbued Russo with the strength to fight - to the death - for basic human rights. Time and time again throughout the narrative, whatever strife or conflict Vito faced in his life, he did so secure in the knowledge that he had the support and, most importantly, the unconditional love of his family.

Love, ultimately, is what seems to drive Vito to greater and greater heights. Love for his fellow man, love for his family, and in turn, the love he was given by those who would often be the first to turn their backs on those who were Gay.

Not so for Vito.

The love and respect he received from his whole family was unconditional and this, might be the greatest lesson the film can impart on all who see it.

That said, those who need it the most are our youth - they're the future. If new generations, Gay and straight, can be infused with the notion of unconditional love, full acceptance and tolerance for ALL things, can't be too far behind.

See it, embrace it and demand that your Board of Education include it in their media libraries and demand that it be used in the social studies syllabi of all schools. It's one hell of a picture, but it also has the power to effect change for the better.

"Vito" is an HBO documentary that has been on the festival circuits and in limited theatrical release. In Toronto, it is currently playing at the Magic Lantern Carlton Cinemas via Vagrant Films.