Martin (Paul Delbreil), an aspiring young filmmaker, arrives in Paris in a desperate attempt to reunite with his first love, Lea (Adele Csech). Though lively, cultured and curious, Lea is not very happy. Although she doesn’t quite know what her future is going to look like, she’s pretty sure that it won’t include Martin as a romantic partner.
Reluctantly, Martin begins to accept the fact that their relationship is truly over. Now he must find a way to rebuild his life from scratch. He’s just starting to do that when, much to his surprise, he ends up falling head-over-heels in love… with another man.
Sexy, romantic, funny and poignant, Love Blooms takes a sensitive look at sexual discovery, young love and trying to find yourself, while struggling to become a mature adult.
You can watch the trailer for Love Blooms below. The full film is now available on Dekkoo.
Kevin James Thornton—the creator of How to Get From Here To There—is a man of many talents. From writing to directing to even scoring the film, Thornton used his diverse skill set to produce this emotionally visceral amalgam of a movie that seems to fall into the categories of drama, experimental, and sci-fi all at once. As our protagonist—known as Commander—deals with the loss of his mother, he also struggles with his past decisions that have left him alone and defeated. But what if our destinies aren’t set in stone? An encounter with a make-believe time machine from his childhood will allow Commander to explore just that.
Tell us a little bit about who Kevin James Thornton is:
My life has taken a lot of weird tangents. I moved to Nashville about two decades ago with my band to pursue a record deal. We succeeded and toured for many years. I spent a little while doing comedy in Los Angeles and even wrote for the Huffington Post. Eventually, I started taking portraits and making short films and music videos. Today, I consider myself a full-time filmmaker. It really brings all of my life experiences together into one medium.
What was your main source of inspiration for the events that take place in this film?
I’ve always been fascinated with the idea that we create our own destinies. I wanted to make a movie about that. I also wanted to make a film that represented gay people in a way that didn’t just focus on the struggle of being gay. There’s a lot of my life in it, of course. I was in a bad relationship with an alcoholic. My mother is alive and well, though.
A major theme in this film is time and how you can’t go back to the past but you can change the future. What does this mean to you specifically as a person?
It just resonates with me. Every single day, we all have limitless choices we can make stepping into tomorrow. For me, this theme carries a hopeful message.
The film’s protagonist is a gay man, yet you didn’t seem to waste much time on themes of gay shame or the coming-out experience. Was that a deliberate choice?
Representation is important and necessary. I love all the films about the queer struggle from Brokeback Mountain to Boy Erased to Philadelphia. But I also want myself and other filmmakers to begin to add to the dialogue. There’s so much to explore, and I’m excited that it’s starting to happen and that I get to be a part of it.
This film takes its audience on a roller coaster of emotions to different worlds well beyond that of reality through the lens of a toy that the protagonist made as a boy. Why do you think breaking away from reality into the realm of metaphor was important to telling this story?
I love using childhood imagination to show adult emotion. It makes the film more moving. Toy Story 3 is a great example of that. It reaches into an innocent part of us and resonates in a different way.
Another unique aspect of the film is its use of actors that don’t fall into the stereotypical “Hollywood twink” category. What do you think queer viewers will gain from seeing these realistic men on screen as opposed to the glamorized, Hollywood versions we’ve all come to expect?
Wait. I’m not a twink? Kidding. That’s SO BORING. In my experience, a lot of gay men like big hairy man bodies and rugged faces. But eye candy is probably pretty clearly not the focus of this film. That said, you have to admit Daniel Mark Collins is pretty stunning.
As a musician, did you have a big part in sonically shaping the film?
I did. I wrote, performed, and recorded it all with the help of my band, Indiana Queen.
What would the Kevin James Thornton from fifteen years ago think after seeing this film?
Considering that I was on tour full-time with my band fifteen years ago, my first question would be, “Wait, does the record-deal thing not work out?” But then I’d get really excited about seeing all of my creativity come together in a film.
If you were given the option to either travel back in time or into the future, which would you pick?
With the way things are in the world right now, I’m a little scared of the future, so I’m going to pick the past. I’d go back to 1950s Manhattan, get a funky apartment in Greenwich Village, and hunt down James Dean to make him love me.
How does it feel to have How To Get From Here To There on Dekkoo? What do you think the platform will do for your film, and what do you think the film will do for Dekkoo’s viewers?
I am so thrilled to have my film on Dekkoo. Having my first feature on a legitimate platform is such a huge accomplishment for me. I hope the viewers love it. I really tried to make something outside of the box.
What are your future plans?
I’m in pre-production for a series I wrote called Stranger Hearts. It’s about several diverse LGBTQ people whose lives all cross and connect in profound ways. We’re shooting it in July, and it’s going to be really good!
Queens & Cowboys: A Straight Year on the Gay Rodeo chronicles a complete season of the International Gay Rodeo Association. Roping and riding across North America, the IGRA’s courageous cowboys and cowgirls brave challenges both in and out of the arena on their quest to qualify for the World Finals at the end of the season. Along the way, they’ll bust every stereotype in the book.
Founded in 1985, the group currently has over 5000 members in 27 chapters all around North America. The association puts on massive rodeos across North America using only volunteers — and all their proceeds go to charity.
The film tells the story of five members of the International Gay Rodeo Association. From Wade Earp, a descendant of cowboy legend Wyatt Earp and one of the best competitors on the circuit; to Char Duran, a female bull rider who’s never won a buckle but seems determined to die trying; Queens & Cowboys weaves the stories of its protagonists over the course of an entire rabble-rousing year.
An unprecedented look at the strength it takes to be gay in the rural west, this film explores the many struggles threatening the IGRA and the LGBTQ community at large, how far society has come on the subject of LGBTQ equality, and how far we still have to go.
“I was originally doing research for a scripted television show I hoped to develop, a show about salt-of-the-earth rodeo cowboys roping and riding through the American west. It all stemmed from a trip to a Cody, Wyoming rodeo with my dad when I was only three years old. Since then, rodeo has always been a fascinating subject for me,” said director Matt Livadary. “The goal of this film is to start a conversation. Not about the differences in our sexuality, but in the commonalities that unite us.”
Queens & Cowboys is about passion, belonging, tradition — it’s about finding your bull and having the courage to, as Wade Earp puts it, “get up, dust yourself off, and keep going”. The film is now available on Dekkoo.
Oscar Madly (“Locke & Key” and “American Crime” star Connor Jessup) is an imaginative “only-child” in St. John, Newfoundland, whose closest friend is a pet hamster named Buffy (voiced by Isabella Rossellini). If his life wasn’t challenging enough being caught in the middle of his parents’ turbulent divorce, Oscar is viciously catapulted into adulthood when his father teaches him about a shocking hate-crime involving a young gay man.
Fearing that he too might be gay, Oscar is driven to suppress his femininity. But when Oscar comes of age, his resistance to his sexuality weakens as he forms a tenuous friendship with a tattooed co-worker from Montreal who opens his eyes to a whole world of new possibilities. However, as Oscar begins to reclaim his identity, he experiences confusing sexual fantasies about his new friend that are fueled by fear.
When Oscar finally confronts and triumphs against the fear instilled by his father, the result is an explosive spectacle of human empowerment unlike anything Oscar could have ever expected.
A raw and emotional coming-of-age coming-out story, Closet Monster leaves a strong impression. The film is now available on Dekkoo.
A stylish throwback to the giallo thrillers of the 1970s (with a decidedly gay twist), Knife + Heart is one of the year’s most acclaimed LGBTQ films. It earned numerous raves from critics, including Katie Walsh of the Los Angeles Times who said “this magical, erotic, disco-tinged horror-thriller is like cinematic candy.”
Set in Paris during the summer of 1979, the film follows Anne (Vanessa Paradis), who produces third-rate gay porn. After her editor and lover Lois (Kate Moran) leaves her, she tries to win her back by shooting her most ambitious film yet with her trusted, flaming sidekick Archibald (Nicolas Maury). But when one of her actors is brutally murdered, Anne gets caught up in a strange investigation that turns her life upside-down.
Shot on 35mm and featuring a terrific retro score from M83, Knife + Heart is an ultra-stylish and blood-soaked ode to the 1970s horror-thrillers of Brian De Palma, Dario Argento, William Friedkin and more. The film was directed by Yann Gonzalez and co-stars Félix Maritaud and Romane Bohringer.
Set in present day New York City, the new twelve-minute short film Walk for Me is a contemporary coming out story that packs an emotional punch.
A conflicted teenager (newcomer Aaliyah King) is torn between their devotion to their mother and their desire to be their authentic self.
When their mother (“The Chi” and “The Get Down” star Yolanda Ross) finds women’s underwear and a flyer to a Gay Ball in their bedroom, she decides to track down her child and confront them. Arriving at the ball, the mother is shocked to find that her child has been taken under the wing of an adoptive Ball mother, Paris Continental (Brenda Holder), and assumed the identity of Hanna.
The mother is confronted by a choice: deny her child or accept her for who she really is.
Winner of the 2017 Mexico International Film Festival Gold Palm Award, Walk for Me has earned stellar reviews. Emilie Friedlander of Thump said “Walk For Me isn’t just a ballroom story. It’s also a story about motherhood, and the complexities of family life for queer teens like Hanna. Through a delicate choreography of loaded glances and small hand gestures, it captures Hanna’s struggle for acceptance from her biological mother, as well as her discovery of a second support system.”
In Shadow and Act, writer Aramide A. Tinubu said “Director Elegance Bratton highlights one of the most pivotal moments in a young trans person’s life… It is the exact instant that will either lead to final rejection or acceptance from her mother.”
Produced and directed by prolific writer/director/actor/author Charlie David, Drag Heals is a terrific new documentary series that follows men who have never worn heels or make-up but have always dreamed of letting their inner drag queen out to play.
These men, and aspiring queens, enter Canada’s first-ever drag class to explore how to create a compelling drag persona based around their own personalities and life experiences. Deeply persona and raw, these queens tackle prickly issues like gender identity, mental illness, heartbreak and feminism to better understand themselves and their queer experience in an otherwise straight world.
RuPaul brought “Drag Race” into the homes of millions and made the once-taboo art form mainstream. This newfound renaissance has inspired a new generation to explore the art of drag and challenge the constructs of gender.
While “RuPaul’s Drag Race” is a competition, Drag Heals is much more of a journey. For most of the participants, this experience is akin to a second coming out process – and the workshops end with a public performance where they each have to face down their fears of stepping into the limelight.
The show gives viewers unparalleled access to the creation of a performance that is more than just your average lip sync. The classes are structured so that the men must reveal their true selves in preparation for their public performance. In order to do it, they must be brave and vulnerable. As performance time draws near, the urgency to create a compelling piece forces them to face down their nerves and personal demons in order to deliver a quality performance for people who have shelled out money to see just that.
The full first season of Drag Heals is now available on Dekkoo! It’s one of our Pride Month Selections for June 2019. Check out the trailer below.
In this riveting dramatic tale, gay teens Naz and Maalik are friends, classmates, business partners and lovers. As the two closeted Muslim teens go about their regular daily routine on a Friday afternoon in Brooklyn they arouse the suspicions of an undercover FBI agent who begins to track them.
This complex tale of race, religion and sexuality features a pair of tremendous performances from lead actors Kerwin Johnson Jr. and Curtiss Cook Jr. Intimate and meditative, Naz & Maalik examines the mysterious forces that animate teenage minds.
An exceptionally well-crafted drama, and an auspicious feature debut from writer-director Jay Dockendorf, Naz & Maalik is now available on Dekkoo – one of our Pride Month selections. Check out the trailer below.
Started in the 1980s as a fabricated movement intended to ‘punk’ the punk scene, ‘Queercore’ quickly became a real-life cultural community of LGBTQ music and movie-making revolutionaries.
From the start of the pseudo-movement to the widespread rise of pop artists who used queer identity to push back against gay assimilation and homophobic punk culture, the poignant new documentary Queercore: How to Punk a Revolution is just that: a how-to-do-it guide for the next generation of queer radicals.
Directed by Yony Leyser, this doc features an impressively extensive participant list Included are Bruce LaBruce, G.B. Jones, Genesis Breyer P-Orridge, John Waters, Justin Vivian Bond, Lynn Breedlove, Silas Howard, Pansy Division, Penny Arcade, Kathleen Hanna, Kim Gordon, Deke Elash, Tom Jennings, Team Dresch, and many, many more.
Isn’t it scary how you can date someone, break up, and then realize that you never really knew who they were? Faces is a Dekkoo-original short film that dives into this topic as the protagonist, Ryan, embarks on the emotional journey of dating Nathan. As is the case with many relationships, things start off great. But how well does Ryan really know Frank? I sat down with the writer and director of Faces, Ben Empey, to talk about the making of the film.
Tell us about yourself.
I’m Ben Empey. I grew up in Santa Rosa, California, about an hour north of San Francisco. I went to film school at the University of Southern California, graduated in 2011, and have made a couple of short films since graduating. But before Faces, I hadn’t been behind a camera in six years. I was on a journey getting to know myself and my voice.
What was your main source of inspiration for the film?
The name for Faces comes from the 1968 film of the same name directed by one of my favorite filmmakers, John Cassavetes. His movies are all about authenticity, and it was between his third and fourth films that he decided to stop kowtowing to the studios. So, he made the movie with his own money in his own house with a circle of friends as the cast and crew. I am so inspired by his methodology, and I wanted to honor him.
What can you tell us about the narrative of the film?
It was really important to not clearly delineate what is real and what is in Ryan’s mind because it’s all real in terms of Ryan’s emotional journey. It doesn’t matter what his literal experience was because the narrative is honest to Ryan’s perception of how his relationship progressed.
What has your personal experience with dating been like and how has that influenced Faces?
I see myself in both characters. I’ve never really been in a relationship for longer than a couple months, and that’s where Ryan is at the beginning of the film. I’m also like Nathan in that I am emotionally stunted, have issues with vulnerability, and push people away. I find that I chase unattainable men because I know I will never have to be vulnerable with them. I think that some gay men tend to project this armor to protect themselves, and everyone does it a different way. I tell jokes rapid-fire and don’t date men who might actually ask me to open up. I also insulate myself so I don’t have to do the real-relationship thing. Nathan does this too by presenting a glossy version of himself in the first half of the movie, and as that facade breaks down, Ryan gets to know the real Nathan. Michael Benjamin (Nathan 2) is a good friend of mine, and I wanted him to play the part because he projects such warmth and honesty. That gives the character an extra dimension and shows that he’s not a villain. He’s trying his best but is maybe just messed up emotionally from a past relationship. And now, he’s hurting Ryan unintentionally. That will probably fundamentally change Ryan which might lead to him unintentionally hurting his next boyfriend.
When working on Faces, did you have specific directions for the actor playing Ryan (Matt Pascua) when acting in a scene with Nathan 1 vs. Nathan 2?
I really just let the casting do the directing for me. I believe you never want to tell an actor to not feel what they’re really feeling. I don’t think it’s my job to dictate what an emotion is supposed to look like. So, I just let them go. There’s nothing better than watching an actor do something that isn’t how you initially imagined it, but it’s totally dead on. That’s why they’re actors, and I’m not!
What do you think the Nathans meant to Ryan?
Nathan is essentially Ryan’s first love. He’s never had a real boyfriend before and is ready to go all in. The relationship is no doubt going to leave an indelible mark on him.
Habits and falling back into old routines seem to be a major theme in this film. If you could scream something at Ryan through the screen—a warning, a piece of advice, a criticism, etc.—what would it be?
I wouldn’t yell anything at Ryan, because if he guards himself, he’d just turn into Nathan. I wanted him to have this experience and be able to move on to his next relationship knowing that there is no perfect relationship, but he should still be open and dive as his true self. It sucks, but sometimes you have to learn the hard way.
What do you think queer viewers will gain from this film?
I’m not interested in watching queer stories where the fact that they’re queer is beside the point. Why can’t we have a major superhero movie where there is a solid romance about two same-sex characters? We get a lot of characters that are flawless models or progressive liberal fantasies. But that’s not human. It’s not real, and it doesn’t interest me. We all have parts of our personalities that we wish weren’t on display, and that’s exactly what I think we should be displaying.
What would 15-year-old Ben say about seeing something likeFaceson screen?
15-year-old Ben was so deep in the closet, he probably wouldn’t have watched this film! Haha. But maybe at 17, I would have been incredibly excited to see a well-rounded gay story. I was 17 when Brokeback Mountain came out. It was very important to me to have this gay romance exist at the highest level of studio filmmaking. I wasn’t out then, but looking back, I can see it was hitting me on a subconscious level. It validated my existence in the cinematic world. Film has always been a big passion of mine, and seeing queer stories on screen helped me accept that I was gay. I can’t imagine who I would be if I’d had even more stories or the access to queer content that teens today have because of the internet. Now, you can look up listicles of classic queer cinema and find the movies online. I love it.
What’s the main message you’d like your audience to walk away with after seeing your film?
It all comes back to Papa Cassavetes: be authentic. When you aren’t authentic with other people, getting hurt is inevitable. It’s not sustainable. And part of authenticity is vulnerability. So, reveal yourself! It’s gonna hurt sometimes, but it’s worth it.
I’m so thrilled to have Faceson such a cool platform. I remember Dekkoo was featured in Film Comment about a year ago, and I thought, “Damn. One of the best film magazines in the world is devoting space to an all LGBT streaming site. That’s so exciting.” This is the first instance of my work being distributed, and to have it be on an LGBT streaming platform is amazing.
What are your future plans?
I’m trying to get my first feature as a director financed which is an uphill battle. It’s probably clear after viewing Faces that what I’m writing isn’t exactly what you’d consider “commercial.” I like to play with form in everything I do. I’m a bit of a tough sell, but that’s okay. I’m also writing a couple of other things as well that I’m really excited about—all queer in some way. The straights have enough.
Where can we find you online?
You can find me on twitter @realtoddhaynes. I am also a co-host on a podcast called movies imo where we pick a new release and discuss it in combination with some other films. You can find it on the podcatcher of your choice.
You can watch Facesright now, available for streaming on Dekkoo!
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