Review: "Paris 05:59: Théo & Hugo"

This review was originally published in Nathaniel's column at Towleroad

You've seen the moment many times. Two future lovers see each other in a crowd, and something clicks. In West Side Story that moment prompts a blur on the edges of the frame, with only the lovers in focus. In La La Land, it takes the form of a camera push-in with all the lights, but for a spotlight, going out. The moment is so familiar in fantasies (and desired in reality) that there's even an old showtune about it.

Some enchanted evening, you will meet a stranger
You will meet a stranger across a crowded room.
And somehow you know, you know even then...

The last place you might expect to see it deployed is in a new French film which begins with 18 minutes of explicit activity in a sex club...

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NewFest: "Don't Call Me Son", "Esteros", and "Paris 05:59"

NewFest, New York's LGBT Festival, runs through Tuesday. Here's Chris on three of the festival's foreign selections...

Don't Call Me Son
Anna Muylaert continues to explore complex family dynamics in Don't Call Me Son, her follow-up to last year's Brazilian Oscar submission The Second Mother. Teenage Pierre (Naomi Nero) and his younger sister have their lives upended when their mother is jailed for stealing them at birth, thrusting them apart and into the homes of their birth parents. Further complicating the film's identity politics is Pierre's burgeoning gender dysphoria...

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