In the German series Kuntergrau, coming out is part of the past while sex and love is mundane. A group of five gay friends between seventeen and twenty-four years old deal with everyday problems and experience the meaning of love, sex, and friendship.
The show focuses on Leopold (Marcel Meyer) who does not want to identify himself through his sexuality and Noah (Daniel Printz), whose BDSM fetish challenges his ex-boyfriend, Jan (Fabian Freistühler), to the point where their relationship begins to break. Along with them are the promiscuous Marcel (Moustafa Tarraf), who works as a banker and is learning to live day-by-day as HIV positive. Last but not least, Lukas (Daniel Kosic) moves from the country to the big city to get away from his controlling parents… somewhat unsuccessfully.
The lives of these five men soon become intertwined and what results is a story that encapsulates what it means to be a young gay man in a big city.
Season 3 of Kuntergrau is now available on Dekkoo! Catch up on Seasons 1 and 2 as well!
A voyeuristic, behind-the-scenes look as celebrated choreographer Thierry Smits and his team go through the auditions, rehearsals and eventual premiere of his controversial dance piece Anima Ardens. ‘Bare’ is available now to stream on Dekkoo!
Director Simon Chung’s film, I Miss You When I See You, tells the story of a man’s struggle to find himself again after a battle with depression and the dangers of unrequited love.
We are first introduced to Jamie (played by Bryant Mak) who comes to visit his old school friend Kevin (played by Jun Li) who’s been battling depression alone in Australia. After learning that Jamie is moving back to Hong Kong, Kevin is compelled to follow him.
Kevin soon finds work in Hong Kong as an English teacher and sparks a relationship with a troubled student. What follows is a story of sexual exploration and fear of conforming to society’s expectations which concludes with an emotional display at a highschool reunion.
The film shines in its small intimate moments.The film’s stronger elements are really showcased when we are given an opportunity to simply sit and observe delicate moments between characters.
The real heart of the film lies in actor Jun Li. Li delivers an incredibly understated and nuanced performance as a man who is longing for companionship but unknowing where to look for it.
Watch the trailer here:
You can find I Miss You When I See You streaming on Dekkoo starting July 29
Arturo (Stefano Accorsi) and Alessandro (Edoardo Leo) have been a couple for over fifteen years. Even though their passion and love have formed a close and important affection, their relationship has been in crisis for a long time.
The sudden arrival of two children, left in their care for a few days by Annamaria (Jasmine Trinca), Alessandro’s best friend, could give an unexpected turn to their tired routine.
The solution will be a crazy departure for them both. But on the other hand, love is a state of pleasant madness.
Written and directed by Ferzan Ozpetek, the acclaimed filmmaker behind Steam: The Turkish Bath and His Secret Life, The Goddess of Fortune is a touching drama about finding family in an unlikely way.
In this critically acclaimed sweeping romance, Thomas, a young German baker, has an affair with Oren, a married Israeli man. After Oren unexpectedly dies in a car crash, Thomas travels to Jerusalem seeking answers about his death. ‘The Cakemaker’ is available to stream now on Dekkoo!
When a young gay lawyer arrives on Fire Island to explore his sexuality, he becomes witness to a murder after being drugged. A stranger helps him to safety, but he soon discovers his savior is friends with the killer. Watch ‘Last Ferry’ now on Dekkoo!
Coming next week: A voyeuristic, behind-the-scenes look as celebrated choreographer Thierry Smits and his team go through the auditions, rehearsals and eventual premiere of his controversial dance piece Anima Ardens.
Andreas and Alessandro (Claudio Segaluscio and Carmine Fabbricatore) are two friends who have known each other since childhood.
Now that they have grown up, they study at universities in different cities, but they always spend the summer together in the place where they were born: a seaside resort that regularly fills up with tourists every year.
The two men have opposing characteristics. Andreas is taciturn and diffident, while Alessandro is expansive and optimistic. Andreas is lonely and without many sexual experiences. Alessandro has a life full of friends – and is already engaged to a girl.
With Summer now coming to an end, both Andreas and Alessandro will soon return to the city to resume their college lives. But before leaving, Andreas decides to give Alessandro a gift. He leaves an envelope full of printed selfies in his friend’s mailbox, some of which are dedicated on the back, hoping that Alessandro will finally be able to notice the love that Andreas always has tried to hide.
A touching 17-minute short film from Italian writer-director Marius Gabriel Stancu, It’s Just in My Head is now available on Dekkoo. Watch the trailer below.
In Kuntergrau, coming out is part of the past while sex and love is mundane. A group of five gay friends between 17 and 24 deal with everyday problems and experience the meaning of love, sex, and friendship. Watch season 3 of ‘Kuntergrau’ now on Dekkoo!
A young man’s tragic death at Beirut’s seaside causes his friends to grapple with loss and to partake in his community’s rites and ceremonies, exposing the city’s schisms and its society’s fault lines. ‘Martyr’ is available now on Dekkoo!
Akif, who has to look after his diseased father, is a draft dodger. He has no one to entrust his father to. There is only one way to avoid compulsory military service. He gets close to Ugur who is exempt from military service. ‘Akif’ is available now on Dekkoo!
Coming next week: A film that explores all-consuming emotion with beguiling restraint, adding up to a delicately understated character study fueled by the power of love.
Paris, 1993. Jacques (Pierre Deladonchamps) is a semi-renowned writer and single father in his thirties trying to maintain his sense of romance and humor in spite of the turmoil in his life and the world.
While on a work trip to Brittany, he meets Arthur (Vincent Lacoste), an aspiring filmmaker in his early twenties, who is experiencing a sexual awakening and eager to get out of his parochial life. Arthur becomes instantly smitten with the older man.
From writer-director Christophe Honoré (Love Songs, Dans Paris) comes a mature and deeply emotional reflection on love and loss, and youth and aging.
In its intergenerational snapshot of cruising, courtship and casual sex – Jacques’ forty-something neighbor Mathieu (Denis Podalydès) rounds out the triumvirate – Sorry Angel balances hope for the future with agony over the past in an unforgettable drama about finding the courage to love in the moment.
Elena goes home for her father’s funeral. Everything is just as she remembered, but will her family pressure her to be like they remember? Stream ‘The Guest’ now on Dekkoo!
Childhood friends Andreas and Alessandro, now grown college students, live in different cities. The pair have reunited at a seaside resort for the summer. As the summer starts coming to a close, Andreas realizes he must make a move to let Alessandro know how he really feels. Watch ‘It’s Just In My Head’ now on Dekkoo!
Omar Zúñiga is an Audiovisual Director and B.A. in Aesthetics from Pontificia Universidad Católica de Chile, and also holds an M.F.A. from the Graduate Film Program at New York University, which he attended with scholarships from the Fulbright Program, Chile’s Ministry of Education and Tisch School of the Arts.
He directed Academy Award® nominee James Franco and Zach Braff in a segment of the film The Color of Time. He premiered his short San Cristóbal at the Berlinale in 2015, where it won Teddy Award for the Best Short Film.
His first feature, The Strong Ones, received both the Grand Jury Prize for Best International Narrative and the Audience Award at OutFest Los Angeles 2020.
I started writing in 2014. At that moment, I was living in the United States. I had directed various projects in English, and at that moment I strongly felt the need to make something that was much closer to my life experiences, to the culture I know, to the kinds of characters and lives that I wanted to represent. I wanted to tell a love story that was romantic and genuine, honest with the things that I know and that I have seen around me.
I also wanted to make a film that was current and political, in which these two men will not let themselves be pushed over by any hostility they may find around them, in which they are able to fight for their place in the world, for the dignity that they define for themselves. This hostility does not define them, their humanity does. The ways that they are different from each other, the ways in which they both try to get to another stage of their adulthood. For me, the film is a romance and also a coming of age, in which they both take risks, and in which they take steps to their own independence.
Films working on same sex relationships sometimes do it from the violence, the discrimination, the pain. What motivated you to take it from love? What difference does The Strong Ones have with other romantic films?
In a very deliberate way, when we had the chance to make this film, we wanted to focus our resources, our talents, our light, in telling a story that celebrated this love and the bravery these two characters have in front of the world, in a way that I have not seen enough of. Homophobia exists in Chile; it is brutal and painful. There are macabre attacks periodically, and there is still a social dimension to it as well. However, our focus is not on this violence, and in my opinion, the film presents in a plausible and realistic way the different reactions that they face around them: sometimes clumsy rejection, sometimes unconditional support, sometimes the town’s anonymous hostility. I feel that this is honest with our country in this moment in time and with the experiences that I know.
I also wanted to talk about a love that had no reservations. It is not a story of discovery, it is a love story that does not involve the idea of guilt, the idea of what they are doing is wrong. It does not cease to surprise me how many films that revolve around same sex relationships fall time and time again in the pattern of one the participants thinking or feeling that what they are going through is something that must be hidden. Even films that are received by mainstream audiences. This is ethically foul for me, and we wanted to remove ourselves from that. I wanted to celebrate their freedom, their autonomy, the courage they have when they allow themselves to be vulnerable with one another.
Finally, I also think that we are unconsciously trained by narrative conventions to expect epic narratives about love, where people leave everything behind for it. I wanted to tell a different story in this sense, more adult, closer to life, with a love that has other ways of being epic.
How was the casting process?
When I started writing the film I wanted to work with Antonio Altamirano: we had met years prior because we had made our first short film together, me as a director and him as an actor. There is a feeling of resilience and strength in Antonio the character, who is very clear with what he thinks, with defending his way of looking at the world. I am not sure why exactly, but I was confident that Antonio could bring this to the screen.
For the other character, Lucas, I was not so sure. It is a more mysterious character, who leaves some of his own shortcomings behind during the film. A common friend introduced me to Samuel González, and when we met, we connected very quickly, we talked about many things beyond the story in particular. We realized that in many ways, the film was as personal to him as it was to me, with experiences that we had both lived. I was very interested in that, and it made us trust each other profoundly.
We did not do formal auditions. For me, it was about the person behind the actor: the experiences that shape us as human beings, the things we have lived or the things we think about the world. I believe that inevitably that makes it to the screen somehow. With Marcela Salinas and Rafael Contreras, it was a similar process, and also with other actors that are featured.
Why did you choose the south of Chile as the context?
From the beginning I wanted the film to have that atmosphere, defined by the immensity of the ocean, and the omnipresence of the rain, the water and the forests. In the Corral Bay in particular there is also a system of Spanish forts that were key in the conquest period, and that centuries later were a part of the independentist movement. These buildings have been standing for centuries, resisting the waves crashing against them. I see them as a vestige of resilience, and in way this echoes the relationship between Lucas and Antonio, who have to resist other kinds of waves.
Also, I was interested in a very specific culture: the local fishing, marked by the dignity of the trade, by the stoicism and the fortitude, by the pride that a community has for the life it leads. This is embodied by Antonio, who defends his side of the river, his way of looking at the world, the life he chooses to carry. I think that sometimes there is a paternalistic view of the trades, or of the hostility: if you find it, change the life you have. I wanted to defend a different notion, conscious of dignity, conscious that all of us deserve to live the life we want in the place where our affections exist.
I spent a lot of time in the area in different occasions before the shooting, observing, visiting places and getting to know people. I wanted to make a portrait that felt authentic. I believe that the process previous to filming, which was years, was key for that.