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So back then, the question for a lot of male dancers was: How could you be open about this disease if you weren’t open about your sexuality? It was sort of this double problem. The dance world is very closeted, even though there are a lot of gay men - just like Hollywood.
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However, a movie about the 20-year-old facing the AIDS crisis isolated and alone – that hasn’t been done as much. We’ve seen movies about older men and men in their 30s dealing with this. But I think enough time has passed that a different kind of story can be told. Here are some highlights.į24: Why did you choose to revisit this particular moment in history, when the HIV test had just been introduced?ĬMJ: I think the stories that needed to be told first were of death and dying and governmental inaction and political activism. I sat down with the director for a conversation about the film and its larger implications. But it’s also a film about bodies in glorious motion – and about dance as an affirmation of endurance and a revolt against the creeping threat of mortality. “Test” takes a fresh approach to a topic - the panic and paranoia in LGBT communities following the AIDS outbreak - most memorably tackled in Bill Sherwood’s 1986 gem “Parting Glances”.
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The protagonist may appear impassive, but the anxiety and hunger for life roiling beneath his skin are released when he dances (Johnson’s camerawork is at its most confident when capturing the thrillingly kinetic choreography by Sidra Bell).
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With mischievous period detail (the indispensable Walkman, those aggravating tangled telephone cords) and a propulsive soundtrack (featuring Bronski Beat’s club anthem “Smalltown Boy”), the film overcomes a shaky start - it takes a while to get used to the unpolished delivery of the performers, most of whom are professional dancers - to pull you inside Frankie’s mood of gnawing fear. One of the most warmly received movies in the running for the Teddy was Chris Mason Johnson’s “Test”, a sly, vibrant, shoestring-budget indie about Frankie (Scott Marlowe), a dancer in San Francisco in 1985, who juggles his career and love life while agonising over whether to get the newly available HIV test.
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This year’s contenders for the honour include a gay romance from the Philippines (Joselito Alterejos’s “Unfriend”), an experimental Brazilian drama revolving around a middle-aged transvestite (Davi Pretto’s “Castanha”), and a German horror film in which a cop grapples with his sexual identity (Till Kleinert’s “Der Samurai”). Jay Bedwani’s beautifully languid documentary catches the final leap of a long, idyllic youth.While Venice and Cannes instituted a prize for best LGBT-themed film in 20 respectively, Berlin started handing out its “Teddy Award” back in 1987 (with Pedro Almodovar’s “Law of Desire" snagging the very first one). His doting mothers in Paris feel his angst, while fearing for his every fall. With no other bookings in the diary, this trip to Puglia, in the heat of the Italian summer, could be his last. Now older than the rest of the troupe, he struggles to face up to the impending demise of his career. His whole adult life, Sebastién, a gay acrobat, has lived for the thrill of the circus and wanted for little else. WINNER - BEST SHORT FILM - WALES INTERNATIONAL DOCUMENTARY FESTIVAL