The 42nd edition of the Chicago Reeling International LGBTQ+ Film Festival is now in the books, having featured an array of narrative, documentary and short films in theaters and online. The event featured a strong lineup of offerings this year, perhaps the best I’ve ever seen at this festival. In all, I managed to catch 12 films during the festival’s two-week run. So, with that said, here’s my take on what I watched and what I thought.

“Turtles” (“Les Tortues”) (Belgium/Canada) (5/5); Letterboxd (5/5), Imdb.com (10/10), TMDB.com (10/10); Web site, Trailer

Is love enough to sustain a relationship? It can certainly provide a powerful bond to keep partners together, but is that sufficient to maintain that connection when other issues arise (e.g., day-to-day life challenges, disagreements and disconnects about fundamental goals and aspirations, cohabitation conflicts, a growing lack of sexual intimacy, etc.)? These matters often come to a head when certain turning points in life are reached, such as retirement, especially when each partner holds different views about what that next stage of life is supposed to be all about. These are among the challenges faced by Henri (Olivier Gourmet), a recently retired Brussels policeman, and his longtime partner, Thom (Dave Johns), a former drag queen and seller of secondhand merchandise who now spends most of his time as a househusband. Thom has been looking forward to this new phase in the couple’s lives, but Henri has been pulling away, seeking to follow a more individualized path, one that even includes encounters with other men (a practice he doesn’t try to hide, either). Needless to say, Thom is heartbroken and tries to reingratiate himself into his husband’s life but to no avail, an outcome that turns their relationship bitterly (though often hilariously) contentious. So what does the future hold for this long-term duo? It looks like divorce is certainly not out of the question. But is that what they really want? These are questions insightfully, honestly and sensitively explored in writer-director David Lambert’s fourth feature effort, a bittersweet romantic comedy-drama about what can happen when “things change.” It thoughtfully examines the soul searching and reevaluations that come with retirement, much the same way as in the Swiss comedy-drama “Golden Years” (“Die goldenen Jahre”) (2022), as well as the open hostility that can emerge between partners, as depicted in the dark comedy classic “The War of the Roses” (1989). The picture’s meticulously assembled, well-paced screenplay effectively examines all angles of this scenario through a narrative that’s touching, wickedly funny, heartbreaking and heartwarming all at the same time. This is backed by the superb performances of the film’s two leads, as well as the heart-tugging presence of an adorable police dog named Sherlock, who plays an integral role in how this story unfolds. This release is handily the best offering I screened at this year’s Reeling Film Festival (if not in all of the years I’ve been attending the event), as well as one of the best movies I’ve ever watched about relationship discord, regardless of sexual orientation. As the old song “Breaking Up Is Hard To Do” so astutely observes, the film definitely follows suit when it comes to that sentiment and does so with an eloquence and realism rarely seen on screen. Couples of all kinds faced with issues like these should give this one a look, as it will ultimately probably provide more hands-on insight into how to address their problems than any course of marriage counseling could ever do. Like the creatures cited in the film’s title, “Turtles” draws attention to the issues often encountered in these circumstances – and candidly shows that partners can’t afford to avoid confronting them by simply hiding in their shells.

“Hailey Rose” (Canada) (4.5/5); Letterboxd (4.5/5), Imdb.com (9/10), TMDB.com (9/10); Web site, Trailer

Family members can be hard to tolerate, let alone love, at times. In fact, in some cases, it can be so burdening that the only way to stay sane is to get away from them altogether. Such is the case for twentysomething Hailey MacEachran (Em Haine), who leaves behind her family in smalltown Nova Scotia and heads west to start anew in Calgary. She seeks to escape the relentless criticism of her shamelessly callous, overbearing, self-absorbed mother, Olga (Kari Matchett), and the cloying annoyances of her needy, nerdy younger sister, Rose (Caitlynne Medrek). Hailey’s departure comes rather suddenly in the wake of the death of her adoring father, Roger (Billy MacLellan), a tragedy that Olga unfairly blames her for, particularly since he suffered from a chronic heart condition that steadily weakened his health. And, after 10 years of being away, Hailey has succeeded in building a fulfilling new life for herself with her loving lesbian partner, Syd (Riley Reign). But, when Hailey unexpectedly receives a frantically tearful, pleading phone call from Rose, she’s reluctantly coaxed into returning home to address a pressing family emergency. However, when she arrives back East, she’s confronted with a string of surprises, frustrations and ghosts from her past, forcing her to assertively confront these challenges while also engaging in some profound soul-searching and heart-tugging reminiscing. Heavy as the foregoing might sound, though, the picture’s narrative actually provides a solid foundation for an often-hilarious dysfunctional domestic comedy with just enough dramatic moments to keep it all honest and realistic without becoming schmaltzy or overly sentimental. In her second feature effort, writer-director Sandi Somers has produced a delightful and touching yet frequently sidesplitting romp about how to stand up for oneself while attempting to forge a satisfying life and trying to manage thorny relations with relatives who are often impossible to get along with. The picture is particularly admirable for featuring a story with a gay protagonist but without making her sexuality the central focus of the plot. Instead, the film places its many quirky twists and turns at center stage, allowing these wacky story elements to dominate and nestling its LGBTQ+ aspects less conspicuously in the background, reflecting a trend I’m pleased to see being put to use with greater frequency in this genre. “Hailey Rose” is a charming gem that has somehow flown beneath the radar but that definitely deserves a higher profile and wider recognition, not just for fans of gay cinema, but for cinephiles of all stripes. This one may be a little hard to find, but it’s well worth a look – especially if you’re seeking a way to avoid spending time with your relatives.

“Rent Free” (USA) (4/5); Letterboxd (4/5), Imdb.com (8/10), TMDB.com (8/10); Web site, Film Clip

Most of us have no doubt heard the old saying (adapted from the famous poem by Robert Burns), “The best laid plans of mice and men often go awry.” And, in the case of a pair of hopelessly lost Gen Z misfits (Jacon Roberts, David Treviño), truer words couldn’t have been spoken. The two longtime friends from Austin, TX attempt to relocate to New York, but, when their plans fall through, they return home to regroup and figure out a way to get back to the Big Apple. They “decide” to land good-paying jobs (without any realistic prospects) from which they can diligently (or so they believe) stash away bundles of cash for a year and, simultaneously, multiply their savings by finding ways to live rent free with (i.e., shamelessly sponge off of) friends, family and even strangers, a plan they’re thoroughly convinced will work. However, the reality turns out to be far different from their hopelessly misguided wishful thinking, straining their friendships with others and themselves. Their wickedly funny story (with a few touching moments) turns out to be a damning exploration of improbable, unworkable reasoning, unbridled irresponsibility, inflated entitlement and generally bad form between themselves and with those who offer to help them out (but who subsequently prove to have agendas of their own as well). One would like to hope that this experience will work out (or at least provide them with a much-needed wake-up call), but will it? In that sense, “Rent Free” is a brutally telling story about a generation that not only hasn’t come of age, but that is in serious need of growing up. Writer-director Fernando Andrés’ second feature offering delivers a bitingly blistering modern day road trip/buddy movie of sorts about two lost souls seeking to find themselves but who perpetually get in their own way. It’s particularly noteworthy for the fact that this is a film involving individuals who are part of the LGBTQ+ community but whose sexuality is more ancillary than integral to the narrative, allowing their other personal attributes and actions to carry the picture and not relying exclusively on scenarios related to their gay and bisexual orientation to define them or the nature of the story. Some viewers (particularly younger ones) may be insulted or offended by some of the content here, but perhaps that’s because the filmmaker holds up a highly polished, undeniably scrutinous mirror to them and their lifestyles, providing a profoundly revelatory look at why their lives don’t live up to their assumed expectations. Indeed, there is no such thing as a free lunch, and this inspired, razor-sharp offering proves that – whether viewers want to see that or not.

“Throuple” (USA) (4/5); Letterboxd (4/5), Imdb.com (8/10), TMDB.com (8/10); Web site, Trailer

Relationships these days come in all shapes, sizes and forms. And, thankfully, there appears to be growing (albeit sometimes slow) acceptance of some of the newer alternatives. One of those that has been gaining ground in the LGBTQ+ community is the “triad” or “throuple,” one made up of three individuals. But, as director Greyson Horst’s debut feature shows, establishing such a relationship takes work, a great deal of commitment and a boatload of honesty. These arrangements are more than just experiments in fun and games if they’re to succeed. At the same time, though, since they’re so comparatively groundbreaking, there are also no hard and fast rules behind them, either. This leaves the door open to interpretation in determining what works for each trio. Such is the essence of this delightfully funny comedy-drama showcasing the experiences of a lonely singer-songwriter (Michael Doshier) who becomes involved with a married couple (Tommy Heleringer, Stanton Plummer-Cambridge) as their third. The three men enjoy an array of good times, a lot of hot sex (sensitive viewers be warned) and their share of emotionally challenging moments. However, the film also shows their courage to dare to try something different and something that suits their needs, regardless of what others may think. It also explores the soul-searching that they must undergo in determining what works best for each of them, for better or worse. In telling this story, the filmmaker has put together a charming, often-hilarious offering with inventive cinematography (particularly some of the best split screen segments, reaction shots and still photo montages I’ve ever seen) and a catchy soundtrack with a number of excellent original compositions. “Throuple” not only provides an insightful look into an alternative relationship option, but it also shows that it’s possible to compile a polished, engaging film with innovative elements on an indie budget. Catch this one if you can. Like its principal characters, it’s sure to bring you back for more.

“Witchy Ways” (USA) (4/5); Letterboxd (4/5), Imdb.com (8/10), TMDB.com (8/10); Web site, Trailer

For many of us, notions related to witchcraft and the supernatural frequently conjure up images of things scary, menacing, even evil. But those who freely engage in these practices are often frustrated by just how misunderstood their ways are perceived by others, gestures that are generally intended for beneficial purposes, especially when it comes to the processes of self-discovery and manifesting one’s hopes and dreams. And one area in which those aims are particularly true is in the romance department, regardless of one’s lifestyle or orientation. Such is the premise at work in writer-director Jane Clark’s latest feature outing, the story of Eve (Diora Baird), a middle-aged, successful but lonely businesswoman who makes a pilgrimage to a secluded wilderness vacation home in California’s Topanga Canyon, a journey whose purpose and outcome are mostly unclear, even to her. The journey is principally a tribute to her recently deceased mother who, for reasons largely unexplained, considered the warm and welcoming venue a personally meaningful refuge, an enigmatic sanctuary of sorts. Once there, however, the love-starved protagonist experiences a series of unusual, unexplained events, some mystical, some playful, some resonant and some unexpectedly romantic. Indeed, in short order, a budding relationship develops between the circumspect hermitic protagonist and her kindly neighbor, Danni (Marem Hassler), the owner of the property and an avowed, unabashed wiccan spiritualist. Their initially unlikely connection proves to be just what each other needs. But, as this emerging romance blossoms, they each must face issues from their respective pasts that they need to work through in order to move forward, challenging tasks that ultimately benefit from a little magic and a whole lot of warm and tender support. This delightfully different love story is a refreshing surprise in many respects, combining seemingly disparate narrative elements in a charming, revelatory and frequently humorous tale. In addition to lovingly presenting a passionate, heartwarming same-sex romance, the film provides viewers with a plainspoken, authentic, sincerely enlightening examination of philosophical and metaphysical topics that are often unfairly mischaracterized by blatantly erroneous and often-insulting misconceptions. Even though the picture is a tad slow to get started and can at times become a little too talky, it nevertheless pays off handsomely in the end, growing progressively stronger and more engaging as the film unfolds, all without ever becoming schmaltzy or coming across like an overwrought, saccharin-encrusted Hallmark Channel movie. “Witchy Ways” is truly an enchanting work of LGBTQ+ cinema that works its magic wonderfully, an offering that just might cast a spell over you.

“F.L.Y.” (USA) (3.5/5); Letterboxd (3.5/5), Imdb.com (7/10), TMDB.com (7/10); Web site, Trailer

It’s not often that one finds a work of LGBTQ+ cinema that intentionally (and successfully) incorporates material related to personal growth and development, especially within the unlikely context of a romantic comedy-drama. However, actor-writer-directors Trent Kendrick and Rafael Albarran have done just that in their debut feature about two former partners (Kendrick and Albarran) whose envisaged brief reunion after many years apart suddenly and unexpectedly thrusts them together into an exercise in protracted quarantining in place at the start of the COVID-19 pandemic. Their unplanned cohabitation leads to both a look back and a look forward as they jointly and individually review where they were and now where they’re going in their respective new lives. That experience subsequently prompts considerable soul-searching as they each seek to come to terms with their true selves as individuals and what that may hold for the future, both for themselves and in relation to one another. In the process, they experience a variety of shifts in perspective as they come to discover themselves, often aided by an array of colorful supporting players from their present and past. And their odyssey is further fueled by a wide range of unusual and often-hilarious experiences, some related to the pandemic, some related to gay life, some tied to the world of drag and gender identity, some based on individual aspirations, and some reflected through recollections shown in flashbacks. The result is an appealing, heartwarming slice of life tale that combines all of the foregoing diverse narrative elements. Admittedly, there are times when these story components don’t always mesh quite as effectively as they might have, and the picture tends to get stretched out a little too much in the final act. But, generally speaking, these varied aspects harmonize well, providing a tale unlike what’s typically found in most LGBTQ+ or personal growth-oriented film offerings, an outcome that gay community members who have undergone their share of experiences of disappointment, disempowerment and heartbreak will find personally inspiring. And that point is nicely driven home when the acronym that accounts for this release’s title is at last explained (an uplifting notion that I won’t spoil by unduly revealing it here). “F.L.Y.” is an impressive debut from this writing and directorial duo, something that we can hope we’ll see more of in future projects.

“Out” (Netherlands) (3.5/5); Letterboxd (3.5/5), Imdb.com (7/10), TMDB.com (7/10); Web site

An old saying about those who were once sheltered from the ways of the world but miraculously blossom when exposed to the panorama of life astutely maintains, “How are you going to keep ʼem down on the farm once they’ve seen Paris?” It’s a sentiment that’s equally applicable to many other cosmopolitan, urbane locales, such as the free-wheeling, uninhibited pace of life in Amsterdam, as a gay male couple from a small Dutch town discover when they relocate to the big city to attend film school. In many ways, it’s a dream come true, providing them with an opportunity to cast off the shackles of a restrictive, closeted lifestyle in favor of something eminently more liberating. But is it really the panacea they’ve long hoped for? For Tom (Bas Keizer), it’s more than he bargained for as he struggles to overcome his conservative smalltown ways (including continuing to insist that he’s bisexual and not the out and proud gay man he’s been reluctant to openly acknowledge), while, for his partner, Ajani (Jefferson Yaw Frempong-Manson), it’s a chance to finally cut loose and truly be himself. Tom is also disappointed with his film school experience, finding it difficult to fit in as a would-be arthouse auteur among peers who are far less constrained (and less condescending) in their creativity and artistic sensibilities. Ajani, meanwhile, grows increasingly concerned that his partner is having trouble at school and not availing himself of the city’s unrestrained LGBTQ+ experience, staying stuck in his uptight ways. Over time, these conditions give rise to a disconnect between them, one that threatens the future of their relationship and the end of a dream they had both supposedly long awaited to fulfill. Writer-director Dennis Alink’s latest provides viewers with an insightful look into the urban gay lifestyle in both its positive and negative attributes, not to mention how two seemingly likable characters can both be major jerks when they want to be, both within their emerging circle of friends and with each other. Indeed, being “out” may not be all it’s cracked up to be. Shot in stunningly gorgeous black and white in quasi-documentary style, the film serves up an array of both gorgeous and “ugly” imagery, giving audiences an unfettered look at a community that clearly has two sides to it. Admittedly, the narrative at times meanders a bit too much for its own good, but it generally does a commendable job at showing rather than telling in conveying its message, making its points and presenting its story. “Out” is a film that earnestly makes clear “gay” doesn’t always equate to “happy,” but it also lets us know that the satisfaction level of our experience depends heavily on what we ultimately do – or don’t do – with it.

“High Tide” (USA) (3/5); Letterboxd (3/5), Imdb.com (6/10), TMDB.com (6/10); Web site, Trailer

Relishing the freedom to openly be oneself can be a fulfilling and liberating experience, especially for those who have lived most of their lives hiding from disapproving family members and a close-minded society. So it is for Lourenço (Marco Pigossi), a Brazilian transplant seeking to resettle permanently in Provincetown, MA, a goal dependent on him acquiring a work visa to replace a tourist visa that’s about to expire. He has an added incentive to fulfill that objective when he meets and falls for Maurice (James Bland), a vacationer from New York who’s visiting the oceanside resort town before embarking on an ambitious, long-term nursing residency in the wilds of Angola. But can the two would-be lovers make this relationship work in light of the impending changes in their respective lives, geography and careers? What’s more, as this budding romance begins to blossom, Lourenço also wrestles with leftover baggage from an old relationship, unwanted advances from opportunistic lecherous would-be suitors and never-ending pressure from his mother back in Brazil, who is unaware of his closeted sexuality and routinely prods him to settle down and find a wife. While writer-director Marco Calvani capably and sensitively presents a tender, authentic, same-sex love story, the picture nevertheless tells a somewhat familiar tale whose narrative is not particularly original in the annals of LGBTQ+ cinema. It also struggles to blend its own brands of comedy and drama, both of which are handled well in their own right but whose inherently diverse natures frequently come across as too extremely opposed to one another to harmonize in a believable, coherent whole. On top of that, the film also tries to cover too much ground at times, with a number of subplots that could have been easily trimmed or eliminated entirely without causing any undue harm to the picture overall. To its credit, though, this offering sincerely has its heart in the right place, despite the aforementioned shortcomings, backed up by an array of fine supporting performances and gorgeous cinematography showcasing the beauty and character of this charming Cape Cod resort town. Unfortunately, however, “High Tide” is yet another recent release that could have used some significant retooling to help it fully live up to its potential, especially given its predominantly conventional premise. Gay cinema has increasingly been moving forward in new and innovative directions in recent years, so, if filmmakers in this genre attempt to tackle new expressions of tried-and-true formulas like this, they had better have a good grasp of what they’re doing if they ultimately hope to succeed in the end.

“The Summer with Carmen” (“To kalokairi tis Karmen”) (Greece) (3/5); Letterboxd (3/5), Imdb.com (6/10), TMDB.com (6/10); Web site, Trailer

The movie-within-a-movie narrative is a popular cinematic storytelling approach, but, to my knowledge, writer-director Zacharias Mavroeidis’s fourth feature outing is one of the first films to make use of it in the LGBTQ+ genre. This endearing gay comedy-drama tells the story of two longtime best friends, Demosthenes (Yorgos Tsiantoulas), a former actor-turned civil servant, and Nikitas (Andreas Labropoulos), a former actor-turned aspiring filmmaker, who try to come up with a concept for the would-be auteur’s latest movie project while hanging out together at a nude beach on the stunningly beautiful Greek seacoast. They toss around a variety of ideas, but they get the most traction out of a story and script based on the waning days of Demos’s relationship with his former partner, Panos (Nikolaos Mikas), two summers earlier, a breakup for which Nikitas had a tolerance-testing front row seat. The events of that awkward, protracted separation are depicted here in a series of flashbacks in which the duo struggles to figure out where things went wrong and why, an examination that ultimately ends up revealing more about them as individuals than as a couple. In the process, the film presents a refreshingly authentic, often-revealing look at the dynamics of relationships and friendships among gay men, particularly when it comes to matters of honesty and commitment, both in and out of partnership contexts. And, along the way, the authors of this evolving production simultaneously look for ways to spice up their work, an exercise in inspired creativity, emboldened social activism, fiercely courageous self-acceptance, constrained moviemaking economics, challenging family relations and even benevolent pet care. However, the breadth of material presented in this story is, admittedly, a lot to skillfully massage into a coherent finished product. The “filmmakers” – both Nikitas and this production’s actual director – seem sincere enough in what they’re trying to say, but they also come across as somewhat inundated in trying to pull it all together. To be sure, there are many earnest moments and flashes of brilliant humor here, but there’s also a tendency to meander and a good deal of extraneous material that could have easily been deleted. This is perhaps most noticeable in the final act, where the momentum starts to sputter, almost as if the director doesn’t quite know how to wrap things up. “The Summer with Carmen” truly represents an ambitious effort with decidedly mature, thoughtful sensibilities running throughout (arguably much more so than what one typically sees in many LGBTQ+ films), but it’s also one that could have benefitted greatly from an editor unafraid to make the necessary cuts to allow it to shine as brightly as the sun at the beach.

“Sebastian” (UK/Finland/Belgium) (2.5/5); Metacritic (5/10), Letterboxd (2.5/5), Imdb.com (5/10), TMDB.com (5/10); Web site, Trailer

Authors striving for authenticity in their work often engage in extensive background research, sometimes of a firsthand nature, to get things right. However, when it comes to writer-director Mikko Mäkelä’s second (and inexplicably much-applauded) feature, I have some serious reservations about its applicability here. This tale of a talented young London-based author of award-winning short stories and magazine pieces is embarking on his first novel, an inside exposé of the lives of gay male sex workers. To find out what these experiences are like, the ambitious emerging wordsmith, Max Williamson (Ruaridh Mollica), decides to investigate the subject by becoming an escort, arranging hook-ups through an internet website under the pseudonym “Sebastian.” But, the more involved he becomes in his research, the more he becomes consumed by it, freely engaged in it but unsure how to keep control over it. Strangely, though, there are also times when he’s overly cautious and inexplicably ambivalent about his actions, going to great lengths to keep both his hustling work – and even his sexuality – a secret, despite an aggressively prolific “nightlife.” Is he trying to avoid being discovered by his clients and writing peers, or is he a closet case who, quite ironically, hasn’t fully come to embrace his behavior or accept his own nature (not even coming out to his own family)? In any event, he engages in a string of diverse encounters that leave him – and viewers – wondering about exactly where he’s going with all this, including a somewhat baffling, unexpected budding romance with an older gentleman (Jonathan Hyde). This plethora of mixed motivations is where the film gets itself into trouble, hopelessly meandering in multiple, seemingly contradictory directions, raising questions about what the filmmaker/screen writer actually had in mind, as well as how diligent he was in doing his homework in crafting this story. “Sebastian” thus often comes across like a series of sexual escapades with a poorly conceived narrative wrapped about them, many of which end up falling back on well-worn, outdated gay cautionary tale tropes. The film also incorporates some implausible developments involving the publishing business, stretching the picture’s credibility even further. In light of this, then, it’s hard to fathom how and why this offering has received as many accolades as it has, especially as a potential candidate for awards season recognition. In my view, this release needs major retooling, not only to provide a more focused approach, but also to strengthen its character development of the protagonist to something more believable and something that generates a more viable audience connection. To be sure, there are many fine LGBTQ+ movies out there these days that are genuinely worthy of praise and recognition – but this overrated production certainly isn’t one of them.

“Extremely Unique Dynamic” (USA) (1/5); Letterboxd (0.5/5), Imdb.com (1/10), TMDB.com (1/10); Web site, Trailer

I’ll come right to the point about this mess – it’s a prime example of unmitigated cinematic nonsense. This preposterous exercise in stream of consciousness filmmaking is not only utterly ridiculous, but positively annoying to sit through. I lost interest very quickly and could not wait for it to end. Writer-directors Ivan Leung, Harrison Xu and Katherine Dudas have come up with one of the most unfocused, amateurish, totally stupid movies I have ever seen, one that plays like a bad, pretentious student film project on steroids. It’s almost as if the filmmakers went out and shot a lot of footage at random and then tried to piece it all together into some kind of allegedly coherent finished product, hoping that it would somehow all make sense (and apparently not really caring if it didn’t). Much of the “story” (if it can even be called that) consists of two longtime stoner buddies (Leung, Xu) engaged in a series of shallow, incomprehensible, disjointed conversations while making a movie about two fictional friends making a movie whose subject is making a movie (and unrealistically attempting to do so all in one weekend). In the process, they spout an endless barrage of completely unrelated ideas on how to proceed, many of which amount to little more than hollow, pseudointellectual observations about a wide range of subjects, filmmaking techniques and narrative elements. What’s more, the film’s attempt at trying to redeem itself by incorporating some “serious” material late in the film absolutely falls flat, given that any credibility that the directors were trying to engender at this point is totally undermined by the unending, senseless twaddle that preceded it. The picture also unsuccessfully tries to incorporate an LGBTQ+ story thread that gets decidedly shortchanged and feels more like an afterthought than a genuine attempt at making some kind of meaningfully relevant social statement. The picture’s only redeeming attribute, in my opinion, is its mercifully short 1:13:00 runtime, which actually often feels much longer than that. It’s truly sad that many well-made movies struggle mightily to find distributors while cinematic hokum like this inexplicably gets the green light. Sadly, the principals involved in this project seem to have deceived themselves into thinking they’ve created an edgy, rip-roaring contemporary comedy in this offering. But what they don’t realize is what they’ve created is a joke.

“Perfect Endings” (“13 Sentimentos”) (Brazil) (1/5); Letterboxd (0.5/5), Imdb.com (1/10), TMDB.com (1/10); Web site, Trailer

Getting back in the dating scene after a long absence can be quite a challenge. With ever-changing conventions dictating what’s acceptable and what’s not these days, those who are out of practice can be left bewildered (especially those who were never particularly adept at modern-day courting to begin with). That’s very much the case with João (Artur Volpi), who just broke up with his partner of 10 years. He’s a nice guy, if a bit reserved and geeky, but certainly quite handsome and politely genial. Yet, even though he’s certainly open thttps://www.lacuna.film/13sentimentoso getting back into the dating game, the ambitious Brazilian filmmaker is actually most anxious to begin work on directing a new arthouse movie from his own script. However, just as the production is about to launch, his funding gets pulled, forcing him to retool the screenplay for a potential new would-be backer. But, as he’s doing this, he develops writer’s block, unsure what kind of story he wants to tell. So, to occupy his time as he sorts out this issue, he investigates new dating opportunities, many of which prove to be more boldly “amorously assertive” than he’s accustomed to, revealing just how much he’s out of touch with current dating practices than he realized. In fact, when “hopeful” suitors discover that he makes movies, they suggestively approach him to put his talents to use for chronicling their erotic escapades – not with him but with other more willing participants. So, with no income in hand and in need of money, João relents, taking his filmmaking work in a decidedly different (and personally embarrassing) new direction. But this path gets him no closer to career or romantic fulfillment. So what’s he to do now? That’s what he needs to find out for himself. However, as promising as this premise might sound for a gay romcom/outrageous sex farce, writer-director Daniel Ribeiro seriously drops the ball by committing the cardinal sin of moviemaking in this genre – creating a picture that’s tediously dull. As this offering unfolds, it fails to generate giggles in either of the protagonist’s hapless undertakings, areas that should be rife with potential for yielding sidesplitting laughs. What’s more, for a movie that’s supposed to be heavy on eroticism, this release contains some of the most boring on-screen sex I’ve ever seen (explicit though some of it may be). And the picture’s lame attempts at incorporating supposedly creative narrative twists and more serious subject matter largely fall even flatter than its other failed material. The result is a finished product that fails to take advantage of the innate strengths it should have had going for it. It’s little more than a tiresome, uninteresting slog that seems far longer than its 1:40:00 runtime – and a seriously missed opportunity to make what easily could have been an admittedly cheeky but nevertheless uproariously funny comedy. So much for the perfect endings.

Copyright © 2024, by Brent Marchant. All rights reserved.