Water | Vattnet

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James leads a lonely life in a luxurious castle in which his parents run a hotel. He never goes out with friends, spends his spare time in his room and peeks at the hotel’s guests out of boredom. Generally hides in his room, to stay away from his wannabe-controlling mother, who has no insight in the life of her son, James is forced outside when a group of handsome Swedish soccer players staying at the hotel capture his interest.

When he finds one of the boys injured at the hotel’s swimming pool, James offers his help and smuggles the boy into his room and locks the door. Locked up with a strange boy in his own room, James experiences the complexity of his own sexual feelings and insecurities for the first time.

WATER | VATTNET is a short coming-of-age film about family, loneliness and sexual identity. It examines the confusing period of adolescence and the first homosexual feelings of a young boy

Benny’s Gym

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Alfred gets bullied. Benny is a bully. Through a series of events they become friends, but Benny keeps their friendship a secret. Benny wants to teach Alfred to hit back. But after an accident, it turns out maybe Alfred also has something to teach Benny.

Closet Monster

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Director Stephen Dunn works a delicate balance with his Closet Monster (currently streaming on Netflix), an imaginative spin on the coming-of-age tale that blends together both straightforward storytelling and recognisable emotional beats with creative flourishes. Those flourishes — including a talking hamster and a series of fantasy sequences — are treated with the same equanimity as the rest of the more reality-rooted elements, allowing Closet Monster to retain an authenticity that other, similar features may not be able to hold on to with such grace.

Young Oscar has a seemingly idyllic childhood, one that is punctuated by his father’s rich imagination, is brutally disrupted by his parents’ separation, an event that turns Oscar bitter, while his once-loving father becomes cold and distant. Already in a state of emotional turmoil, elementary school-aged Oscar witnesses a heinous crime against a classmate that compels him to further hide his emerging sexuality. Taught from a young age that being gay is something to be feared or, at the very least, concealed and repressed, Oscar internalises the crime, a reaction he doesn’t fully understand until years later.

When we catch up with now teenage Oscar he’s on the cusp of adulthood, he’s still reeling from the events of his childhood. Highly creative, Oscar spends his time crafting magnificent practical make-up effects for his over-the-top best friend Gemma, taking photos of his artistry and building inventive additions to his hamster’s cage. And about that hamster…

Alive for far longer than any other normal hamster, Buffy — who talks, if only to Oscar — acts as both a comfort to Oscar and as his conscience, going so far as to bill himself (or herself? Buffy’s gender identification is a plot point in the film) as Oscar’s “spirit animal.” The animal illustrates Oscar’s profound tenderness and his deep loneliness in equal measure. Once Oscar meets sexy Wilder at work, his carefully constructed facade begins to crumble, and the hormonally-mad teenager begins to give himself over to desire.

Oscar’s fixation on Wilder — who is attractive and mysterious, but not particularly nice, sort of the platonic ideal for a teen crush — pushes him into new modes and methods of reaction, many of which feel jarringly violent. As he begins to experience the world around him through the emotional milieu of falling in love for the first time, other things come into sharp focus and the already creatively inclined Oscar begins to blend fantasy with reality. The film’s visuals are lush and dreamy, and Dunn makes even Oscar’s tired old town look fresh. The film winds down to a fairly obvious conclusion, but that does not dilute the satisfaction it also earns along the way.

Closet Monster may feature a talking hamster and a hefty volume of very bloody flashbacks-turned-fantasy, but Oscar’s issues continually remain real and relatable. Dunn plays around with perspective and style, but all the flash doesn’t obscure the film’s emotion and heart, which are deep and true. The talking hamster is just a bonus.

 

via IndieWire

The Babysitter

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Fresh to Netflix this week is The Babysitter from the minds of McG and Brian Duffield. While the film is a really fun watch, it at times does give a little wink and nod to the holiday classic Home Alone. Don’t be fooled though, The Babysitter is more than a slapstick romp.

At the heart of this film is a 14-year-old underdog named Cole. The script taps into the audience’s adult memories of being a socially awkward kid and finding comfort with the incredibly fun and exciting older babysitter. In the film, said babysitter, Bee, is just that.  Everything, especially for a young boy, a kid can dream of. Bee is beautiful, funny and always has Cole’s back, or so he thinks.

Cole discovers a very dark side to Bee and her satanic friends. Which sets off the terror, gore, and hilarity. The balance of executing a horror comedy without being too “jokey” is not an easy task. McG pulls it off exceptionally well with The Babysitter. The sharp wit and biting sarcasm of the ensemble cast of teenagers, along with the standout performances of the actors make the movie one the audience actually cares about. If you’re looking for a comedy to celebrate the Halloween season, The Babysitter is on Netflix now.

The Mess He Made

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A man spends 15 minutes waiting for the results of a Rapid HIV test in a small-town strip mall.

“This is a film about getting tested for HIV in 2017 — two decades after President Clinton announced that finding an effective vaccine would be a top national priority. Five years after the FDA approved PrEP for reducing the risk of sexually acquired infection. One year after my first Grindr hookup.

This is a film about queer rituals. This is a film about grappling with gay shame. And this is a film about a man who is terrified of winding up alone, but on some level thinks he deserves to be.

I feel very lucky (and terrified) to have so many of my own demons on display in this work – it has been more personal, therapeutic and creatively fulfilling than I could have ever imagined. I’ll always be grateful to my remarkable cast and crew, who stomped into Scranton, PA with me the week after the election, when the world suddenly felt so unfamiliar, and carved out a space for this fierce little film.” – Matthew Puccini, Director

Simon says Goodbye to his Foreskin

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Simon says Goodbye to his Foreskin”—a title as straightforward as this comedy’s charm. Twelve-year-old Simon Grünberg approaches his Bar Mitzvah in the midst of his parents’ marital separation. His recently observant Jewish father advocates for his circumcision, seeing the significance of his son’s covenant with God as a non-negotiable rite of passage. His mother, a fiery and headstrong erotica author, finds this appalling and refuses to subject her son to circumcision for the sake of pious rules. Simon, for lack of a better term, is torn.

To complicate matters, Simon’s new Rabbi, Rebecca (Catherine De Léan), is a warm, beautiful, intelligent woman—and he’s not the only one who notices. With well-meaning strategic help from his buddies Ben and Clemens, Simon sets off to win her heart before his father can. When an especially intimate tactic (that drew groans of all kinds from its North American Premiere audience) becomes public fodder for a private feud, Simon considers more drastic measures. His desperation to attract a first love twenty years his senior drives him to bond with God on his own terms.

Stereo

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What if we lived in a world where it was common, even expected, for boys to wear dresses? Meanwhile, girls don’t do theater, they try out for the football team. That’s exactly what the short film Stereo explores about gender stereotypes. 14-year-old Ella Fields made the film in the Cinematic Arts Academy at Millikan Middle School in Los Angeles last year.

12 Notes Down

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How do you decide when it’s time to let go? For young Jorgis, the star voice of the Copenhagen Royal Chapel Choir, the moment is upon him. With just a few weeks to go before an important concert, his voice has suddenly begun to break, forcing the 14-year-old into a state of transition he is not prepared for. He must choose between damaging his vocal cords trying to hit the high notes and dashing his hopes by walking away in this tender portrayal of a universal, yet intensely personal, rite of passage.

Shower – A dark Short about Repressed Sexuality

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A man enters the shower after working out, but is soon side tracked by an unidentified noise. He decides to seek out the source and enters a situation that leave him completely exposed.