Rubnitz, Tom

1988

Rubnitz, Tom

1988

Devakul, M-L.Bhandevanop

1988

This Thai adaptation of Mart Crowley's play The Boys in the Band has a sort of psychotronic low-tech look that's a cross between a 1968 episode of “Hawaii Five-O” and a Herschell Gordon Lewis epic. Other than that, it's pretty faithful to the original in plot and action. The queens of Crowley's play are expressionistically interpreted here as drag queens (the birthday girl even sports a tiara!) and the cowboy as a young macho dancer. The best scene is still the same: as the Michael character decorates the birthday cake and the others dance to Charlie Parker, the straight friend (and a hunky young country boy ) suddenly walk in.With Likit Ekmongkol, Dr. Seri Vongsemontha, Chalit Fiengarom, Sinjai Hongthal

Langlois, Michel

1988

The theme of Sortie 234 is passion, the rabid passion of Renaud for Frank. A passion which shoots like a star and explodes. In between these two poles there is Lucille, Frank's love. Lucille whom Renaud tries to tame, Lucille who becomes the go-between in this pulsating relationship.

Summerville, Mark

1988

Singing Seas is a campy, operatic reverie of gay tribal life on a South Pacific island, somewhere on the map between Bruce Weber and Lindsay Kemp.

1988

Silvera, Charlotte

1988

Seven women, chained together at a Paris station, find their lives entwined just as firmly when they arrive at Rennes women's prison. Prisonnieres propels its inmates through a series of sometimes somber, soap opera–style set pieces. In the atmosphere of barely suppressed violence, some cope by compliant submission, others by outright rebellion. But unanticipated loyalties and friendships also emerge; young, armed robber Sabine finds herself drawn to the quiet, older Lucie. Of all women's prison movies, Prisonnieres gets closest to the pace and pacts of cell block subculture. The lesbian content consists of one unbelievable love affair, its stilted passion resulting in a suicide attempt, a major flaw in an otherwise humanistic movie.With Agnes Soral, Annie Girardot, and Bernadette Lanfont

Silvera, Charlotte

1988

Seven women, chained together at a Paris station, find their lives entwined just as firmly when they arrive at Rennes women's prison. Prisonnieres propels its inmates through a series of sometimes somber, soap opera–style set pieces. In the atmosphere of barely suppressed violence, some cope by compliant submission, others by outright rebellion. But unanticipated loyalties and friendships also emerge; young, armed robber Sabine finds herself drawn to the quiet, older Lucie. Of all women's prison movies, Prisonnieres gets closest to the pace and pacts of cell block subculture. The lesbian content consists of one unbelievable love affair, its stilted passion resulting in a suicide attempt, a major flaw in an otherwise humanistic movie. With Agnes Soral, Annie Girardot, and Bernadette Lanfont

Marshall, Stuart
Bartlett, Neil

1988

A teacher (Neil Bartlett) interviews for a job in Pedagogue, Stuart Marshall's send-up of Clause 28–related British homohysteria.

Pacilio, Casi
Keys, ?

1988

An exciting first feature by two new young talents on the independent film scene, Out of Our Time juxtaposes two circles of women—one a literary/artistic society of women in Chicago circa 1930, the other a contemporary group of feminists. The two circles are linked by Valerie Ward and Jacquelyn Matthews, granddaughter and grandmother respectively, both of whom, in their own eras, grapple with the frustrations of not fulfilling themselves as writers, and share a dream of being published. Jacquelyn is a writer for a prominent 1930s fashion magazine who wants to have her novel published. Val is a typesetter for a small urban feminist newspaper, insecure about publishing and reading her poetry. The film skillfully interweaves the stories of these two eras, showing us the parallels in the choices, issues, and struggles that both contemporary and women of the past encounter. The 1930s period scenes convincingly recreate a sense of aristocratic bohemia, of women fighting for an artistic identity in a world where using a male pseudonym was the most accessible venue to being published. The contemporary scenes are humorous, witty, and realistic as bonds of friendship are shown to be at the core of one's identity and at the same time a threat to it.