Films set in Lisbon

After The Night (Ate Ver A Luz) is a striking indie gangster story set in the gritty slums of Lisbon and is out in UK cinemas and VoD from the 25th April.

A visually striking film, it accurately shows Lisbon’s diverse culture, people and surroundings and climbs inside the world of Lisbon’s Creole slums.

We take a look back at a cinematic history of films set in Lisbon…

AFTER THE NIGHT (Ate Ver Luz; 2013; Basil Da Cunha)
An outcast living a solitary nocturnal life with an iguana named Dragon as his only friend, Sombra wanders around in the Creole slums of Lisbon as he is looking for cash to pay back the local gang boss. Dragged into an armed robbery, he runs away and is chased until the early hours of the day.


After The Night is out in cinemas and VoD from the 25th April (watch at I-Tunes)

A TALKING PICTURE (Um Filme Falado; 2004; Manoel de Oliveira)

For some thought-provoking, for others dull – this movie reveals the encounters of a mother and daughter on a Mediterranean cruise. John Malkovich is the captain.

IN VANDA'S ROOM (No Quarto da Vanda; 2000; Pedro Costa)

This award-winning, warts-and-all documentary/fiction provides a close-up of the lives of Cape Verdean slum dwellers and drug addicts in Lisbon’s deprived Fontainhas district.

THE LETTER (A Carta; 1999; Manoel de Oliveira)

Passion, futile love, adultery, tragedy, piety… It's all in this Oliveira classic that won the Jury prize at Cannes.

THE NINTH GATE (1999; Roman Polanski)

Stars Jonny Depp as a rare book dealer seeking out a supernatural demon text. In the course of his travels around Europe through France and Spain, to track down the authentic copy of the book for his client, he visits Sintra in Portugal. It's a picturesque area of Portugal just outside Lisbon with plenty of atmospheric hilltop palaces and castles.
Depp visits Chalet Biester with its turreted outline tucked into lush green woodland exuding mystery.

BONES (Ossos; 1997; Pedro Costa)

A grim and gripping tale of life in the slums on the outskirts of Lisbon, dealing with poverty, suicide and the struggle of love and death.

LISBON STORY (Viagem a Lisboa; 1994; Wim Wenders)

Inventive and beautifully photographed, this German drama follows director Monrow on his quest to finish a silent film in Lisbon. Stars Portuguese band Madredeus and a cameo by Manoel de Oliveira.

THE WINTER IN LISBON (El Invierno en Lisboa; 1992; Jose Antonio Zorrilla)

This crime drama is about a disillusioned US jazz pianist who fl ees to Lisbon where he befriends an artist. The film stars famous trumpet player Dizzy Gillespie.


After The Night is out in cinemas and on VoD from the 25th April

Conspiracy Theory Feature (Pioneer)

Jonathan Glazer’s Top Five Most Notable Works

Top 10 Ralph Fiennes Performances

Today Ralph Fiennes is one of Britain’s preeminent acting talents, and a household name. However, like all great actors, there was a time when he was unknown and still searching for his breakthrough performance. In honour of The Grand Budapest Hotel, his latest film, we’re taking a look back to the start of his career, and the notable performances that brought him to stardom.

Schindler’s list (1993)

Originally Fiennes dreamed of becoming a painter and began studying at Chelsea College of Art and Design. Soon, however, he found his passion in acting, and quickly transferred to London’s Royal Academy of Dramatic Art. Here he was taught through Shakespearean theatre, and after graduation in 1987, he performed on live stage for several years. Although he made his first film appearance as a lead Actor in 1992’s Wuthering Heights, his performance in Schindler’s List elevated him to star status. In this role, Fiennes played the chillingly cold Nazi officer Amon Goeth, and for his performance, he was nominated for an Academy Award in the category of best actor in a supporting role, and also won the BAFTA in the same category.

Quiz Show (1994)

Springboarding off his performance in Schindler’s list, Fiennes partnered up with actor-director Robert Redford for the 1994 Academy Awards best picture nominee Quiz Show. In it, Fiennes stars as a fictional version of Charles Van Doren, a quiz show contestant who captivated America in the 1950s by winning week after week. The only problem? Van Doren was being fed the answers the whole time, and when a disgruntled losing contestant reveals the truth, their scheme, along with America’s illusion, came tumbling down—fast.

The English Patient (1996)

Fiennes returned to the Oscar spotlight in 1996, this time leading another Academy Award best picture winner, The English Patient. Fiennes plays an archaeologist during WWII who has been badly burned in a plane crash and is struggling for his life in a French hospital. As the plot turns, and Fiennes’ past is revealed in a series of flash backs, a dangerous love affair quickly unravels. For his performance, Fiennes was nominated by the Academy again, this time in the category of best actor in a leading role.

Red Dragon (2002)

In 2002, Fiennes returned to the villain role to mark another chapter in the story of Hannibal Lector. For Red Dragon, Fiennes donned a fearsome back tattoo and took on the alter ego of the Red Dragon—a serial killing schizophrenic heavily influenced by the work of Lector.

The constant Gardener (2005)

Like a chameleon changing colours, Ralph Fiennes transformed from villain to hero once again, showing his incredible dramatic range in The Constant Gardener. In a film nominated for 4 Academy Awards, Fiennes plays Justin Quayle, a British diplomat living in Kenya searching for the truth behind his wife’s murder. Although he believes her death to be the result of an affair, he soon finds the truth to be much more lethal.

Harry Potter (2005-2011)

Using his previous stints in Schindler’s List and Red Dragon as an audition, Fiennes next transformed himself into perhaps the most notorious villain in young adult literature—Lord Voldemort. As the dark lord, Fiennes brought to life a character feared by both wizards and muggles. On screen, his transformation from the love grieving Justin Quayle in The Constant Gardener to the reptilian Voldemort is truly remarkable, both in physical appearance and performance

The Reader (2008)

Since the end of World War II, many films have used Nazi Germany as subject material, but very few, if any, have told the story from this angle. When a teenage Michael Berg is befriended by a woman (Kate Winslet) nearly twice his age, their friendship quickly turns physical. The affair burns out bright and quick, but nearly a decade later, the two have a chance meeting where Michael Berg discovers that Hannah, the only woman he has ever loved, was once a Nazi guard at Auschwitz. As an older Berg, Fiennes attempts to come to terms with the woman he once loved, and tries to make penance on her behalf.

The Duchess (2008)

Teaming up with Kiera Knightly, Ralph Fiennes put on a wholly convincing performance as The Duke in The Duchess. As the menacing husband of Georgiana (Kiera Knightly), Ralph Fiennes seems to reflect the tranquil nature of his surroundings. When his wife fails to produce a male child however, Fiennes puts on a brutally real performance, slowly abusing his wife both emotionally and physically. Balancing off this performance by Fiennes, the film peels back the surface layers of Victorian era culture, and exposes the sexist precedents of the time.

The Hurt Locker (2009)

In 2009, Fiennes teamed up with Kathryn Bigelow to provide a brilliant cameo in the best picture winning film The Hurt Locker. As Jeremy Renner and his partner make their way across the Iraq desert, they come across Ralph Fiennes and his squad of hardnosed mercenaries. Wearing a headscarf and flak jacket, Fiennes turns out a memorable performance, and gives perhaps the best recitation of the line “Sniper!” on film.

The Grand Budapest Hotel (2014)

In the new Wes Anderson film, Fiennes plays Gustave, a legendary Eastern European Concierge during the 1930s. As fictional locations, murders, and Futura typeface pile on in typical Wes Anderson fashion, Fiennes grounds the cast and centres the film. With Wes Anderson directing at the top of his game and utilizing a star-studded cast that includes Jude Law, Bill Murray, Tilda Swinton, and Willem Dafoe—just to name a few—The Grand Budapest Hotel is one of the most anticipated films of the year.

THE GRAND BUDAPEST HOTEL IS RELEASED IN UK CINEMAS ON 7 March 2014

Movies Scored by Famous Musicians (Her Feature)

Often, a movie’s score goes unnoticed by an audience, but it can have major effects on the mood and setting of a film by subtly changing a viewer’s perception. If the score is not chosen wisely, it can hinder a film, or even worse, clash with the fundamental themes underlying it. In order to achieve the correct mood, it has become a recent trend for Hollywood film makers to collaborate with famous musicians. For Her, director Spike Jonze worked closely with Arcade Fire to create a sublime score that sweeps and swoons in alignment with Theodore’s (Joaquin Phoenix) emotions. In honour of Her’s February release, we’re taking a look at some of the best collaborations between famous musicians and film makers in recent memory.

Grizzly Bear/ Blue Valentine (2010)

Usually scores are inspired by the films they are created for, but in the case of Blue Valentine, the opposite is true. Director Derek Cianfrance worked for over 7 years to perfect his Blue Valentine script, but it wasn’t until he found the Grizzly Bear band that he hit his writing stride. As he wrote, he often listened to their music, fusing their melodic rhythm into the pacing of his writing. In 2007, he reached out to the band and asked if they would score his film. They obliged, and together with Cianfrance, were able to create two separate moods—one of romanticism for flashbacks and another highlighting tension for present day scenes—that defined the pacing of the film.

Alex Turner/ Submarine (2010)

The lead singer for the Arctic Monkeys took a brief hiatus in 2010 to work alone for the soundtrack of Submarine. In order to highlight this coming of age story, Turner put down his usual habitual rock style, and created six different acoustic songs. His soundtrack was critically acclaimed, and Turner used the experience to expand the sound of the Arctic Monkeys.

Trent Reznor/ The Social Network (2010)

While it’s hard to imagine The Social Network without its award winning soundtrack, Trent Reznor’s score almost didn’t happen. When David Fincher Initially offered Reznor the gig, he turned it down to take a break from music. Thankfully for the film however, Reznor changed his mind at the last minute, and joined forces with Atticus Ross to create a score that Roger Ebert called an “urgent composition that drove the film's headlong momentum.” After the credits finished, Reznor’s score kept on driving, taking the film to the academy awards where it was nominated for eight Oscars and won three including best original score.

Daft Punk/ Tron: Legacy (2010)

Before winning the Grammy for best album of the Year, the French duo took on the Disney remake of Tron in 2010. Their electric-pop vibe was a natural selection for the digital world, and the soundtrack for the film was a huge success, moving all the way to No. 4 on the Billboard top 200 list.

Karen O/ Where the Wild Things Are (2009)

To bring this beloved work of Maurice Sendak to life, Spike Jonze enlisted the help of Karen O, lead singer of the Yeah Yeah Yeahs, and at the time, his current girlfriend. She lent her voice for several songs, including the Grammy nominated song All is Love, and helped to write the score, which was nominated for best original score at the Golden Globe awards.

John Greenwood/ There Will Be Blood (2007)

For There Will Be Blood, Radiohead’s guitarist John Greenwood accented Daniel Day Lewis’ performance with orchestral sounds to give the film a sinister, unsettling tone. Although his score was ultimately snubbed by the academy awards because of its use of previously recorded material, it was nominated for a Grammy in the category of “Best Score Soundtrack Album for Motion Picture, Television or Other Visual Media".

Arcade Fire/ Karen O/ Her (2014)

For Her, Spike Jones collaborated with Arcade Fire to produce the score, and once again Karen O to sing an original song. Arcade Fire’s score has been nominated for best score by the academy awards, and Karen O’s “The Moon Song” has been nominated for Best Original Song. The film is also in the running for three more Oscars, including Best Picture.

HER IS RELEASED IN UK CINEMAS ON 14 FEBRUARY 2014

Forbidden Love - The Invisible Woman Feature

The theme of forbidden love has formed the basis of many romantic dramas; fuelling scenes of passion, desire, and devotion. The latest film to add to the line-up is The Invisible Woman, the true story of Charles Dickens and his young mistress, actress Nelly Ternan. Ralph Fiennes directs himself as Dickens, with Felicity Jones as the young beautiful actress. Nelly is forced to remain an ‘invisible’ muse and lover to hide the scandalous relationship from the world. To mark the February 7th release in cinemas, here is a look at eight films about forbidden love.

The Graduate (1967)

Starring Dustin Hoffman and Anne Bancroft, The Graduate tells the story of Benjamin Braddock and his affair the wife of one of his father’s business partners, Mrs. Robinson. Having recently graduated from college, Ben meets Mrs. Robinson upon arriving home and they begin their short-lived affair. However, his past comes back to haunt him as Ben finds himself falling in love with Elaine, Mrs. Robinson’s daughter. The Graduate, a hugely influential coming of age comedy, hilariously tells one of the most tense and noteworthy love stories in film.

Water for Elephants (2011)

When his parents die in a car accident before he finishes his veterinary studies, Jacob Jankowski falls into a new life in the circus. It is here that he meets Marlena, the young wife of the ill-tempered and unstable circus owner, August. Jacob soon falls in love with Marlena, and she with Jacob. August’s violent nature threatens their lives and the livelihood of the circus. Based on the novel, Water for Elephants, starring Reese Witherspoon and Robert Pattinson, depicts the whirlwind love affair of Jacob and Marlena and how two people will beat all obstacles to be together.

Lolita (1997)

In this forbidden love affair based on the famous Nabokov novel, Humbert Humbert falls in love with his land lady’s 14 year old daughter, Dolores “Lolita” Haze. Humbert, a British professor who moved to the US to teach, marries Charlotte Haze, in order to stay close to Lolita. Lolita proving to be much more mature than her age begins a relationship with her step father. The gripping tale of Lolita, starring Melanie Griffith and Jeremy Irons, with Dominique Swain as Dolores, is filled with romance, guilt, jealousy, and perfectly depicts the ultimate price one might pay for forbidden love.

In The Mood for Love (2000)

Newspaper editor, Chow Mo-Wan, moves into a new building with his wife and at the same time, Su Li-Zhen, a beautiful secretary, moves into the building with her husband. Chow and Li-Zhen form a friendship and begin spending time together as their spouses are away. However, they soon find out their significant others are having an affair and vow to not be like their unfaithful spouses, yet find comfort in their growing relationship. Set in Hong Kong in 1962, In the Mood for Love, starring Maggie Cheung and Tony Leung Chiu Wai, beautifully illustrates the growing love between two individuals and their resistance to give into passionate feelings.

The Scarlett Letter (1995)

Seeking independence from 17th century England, Hester Prynne arrives to Massachusetts Bay Colony awaiting the arrival of her husband from England. While befriending other outsiders in the colony, Hester falls for young pastor Arthur Dimmesdale. Soon, Hester bears their child, after rumour of her husband’s death reaches her. On the day Hester is made to wear a scarlet A, her husband arrives very much alive and seeks revenge on her love and his own wife. The Scarlet Letter, starring Demi Moore and Gary Oldman, shows that sometimes love will overcome every rule and all humiliation.

Romeo and Juliet (1996)

Retold in a modern day Verona, Romeo and Juliet remains the timeless story of star crossed lovers. The Montague and the Capulet families are fierce, feuding enemies when their children meet and fall in love. The two have hidden their love from their families and soon meet their tragic destiny. Still preserving the original dialogue from the Shakespeare classic, Romeo and Juliet, starring young Leonard DiCaprio and Claire Danes, is one of the greatest forbidden love stories told.

Titanic (1997)

101 year old Rose DeWitt Butaker tells the story of her romantic adventure on the Titanic, and her discovery of true love, to her granddaughter and the crew aboard the Keldysh research ship. While aboard the Titanic, Rose met Jack Dawson, a spirited artist with whom she soon fell in love. When the Titanic went down, Jack lost his life, but Rose used his name to disappear from her mother and fiancé. 84 years later, Rose recalls this story as the crew searches for remnants of the wreck her nearly priceless lost jewellery. A beautifully told story of love lost, Titanic, starring Kate Winslet and Leonardo DiCaprio, is one of the most spectacular stories of forbidden love.

The Invisible Woman (2013)

Set in 19th century England, The Invisible Woman illustrates the illicit love affair between Charles Dickens and young actress, Ellen Ternan. At the height of his success, an older Dickens meets 18 year old Nelly with whom he soon falls in love and begins a secret affair, eventually leaving his wife. To keep her reputation, Nelly must live a life of “invisibility” until Dickens’ death. An epic drama, starring the outstanding Ralph Fiennes and illustrious Felicity Jones, The Invisible Woman passionately depicts what one must pay for love in an entrancing and heart wrenching film.

THE INVISIBLE WOMAN IS RELEASED IN UK CINEMAS ON 7 FEBRUARY

Robert Redford Career Highlights (All Is Lost Feature)

Robert Redford is one of the few actors in Hollywood that has had contestant involved in Hollywood for the duration of his career. Embarking on his 77th birthday Redford has spent 53 of those years in the spotlight for his participation in front or behind the camera. Starting as a Hollywood heartthrob in the 60s, becoming a top-box office actor in the mid 70s, director in the 80s, producer in the 1990 and philanthropist in the turn of the century, it’s safe to say Redford has made the most of his career. Robert has been recognized for his talent by receiving two Oscars; one in 1981 for Best Director and another for the Lifetime Achievement in 2002. In addition, he was awarded French Knighthood in the Legion d’Honneur in 2010. Although he has always been involved in Hollywood, Redford experienced, as any actor does, ups and down. However, riding the wave of success, this winter, Robert Redford is being thrust into the award season storm curtest of his new film, All Is Lost. In anticipation of the upcoming film, we are taking a look back at Robert Redford’s successful career. However, while participating in over 68 productions as an actor, 10 as a director and 35 as a producer, it’s impossible to cover all the bases, so we are specifically taking a look at his career highlights.

Inside Daisy Clover (1965)

Roberts Redford stars in his third Hollywood film, Inside Daisy Clover as he portrays the role of the homosexual Wade Lewis. Redford’s handlers cautioned him against taking the role in the film, but despite their warnings, Redford accepted and the film served his first important role of his career. Redford’s performance earned him excellent reviews and won him a Golden Globe award as a “Star of the Future.” After this role, Redford’s career was secure; he was seen as a talented actor offered a multitude of different roles after the movie was finished.

Downhill Racer (1969)

Given the opportunity to carry his own, Robert Redford starred in the motion picture Downhill Race. Playing a small-town Colorado arrogant athlete given the chance of glory on the U.S Olympic Ski team, he gives a convincing, self-destructive performance. In a review for the Chicago Sun-Times, Roger Ebert stated Downhill Racer is “the best movie ever made about sports—without really being about sports at all.” The received critical acclaim as Redford proved himself and the extent of his talent.

Butch Cassidy and the Sundance Kid (1969)

Reaching success, Redford was worried he had been type-casted in Hollywood as a blond male stereotype. In retaliation, he turned down numerous offers as he waited for the right role to present himself. In 1969, he found the role he was looking for in George Roy Hill’s western classic, Butch Cassidy and the Sundance Kid. The film follows Butch Cassidy (Paul Newman) and his partner Harry Longabaugh, the “Sundance Kid” (Redford), as they migrate to Bolivia on the run from the law in search of more criminal opportunities. The film marked the first collaboration between Newman and Redford, and moulded their famous friendship. Butch Cassidy and the Sundance Kid, received monumental critical acclaim. The film earned 7 Oscar nominations, winning 4. As well as three Golden Globe nominations, winning Best Original Score. Redford received a BAFTA Award for Best Actor. In 2003, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant”. The film reinforced Redford’s acting talents and made him a major bankable star, cementing his screen image as an intelligent, reliable, sometimes sardonic good guy.

The Candidate (1972)

The Candidate is an American political satire film starring Robert Redford, written by Jeremy Larner, a speech writer for Senator Eugene J. McCarthy during the 1968 Democratic Presidential nomination. Redford portrays a young liberal lawyer who tries to hold onto his ideals as he campaign to defeat a conservative senator. As the campaign continues, the candidate loses his way, and Redford’s skilful performance suggests just how aware he is of his failure. The film received critical acclaim as it was nominated for two Academy Awards, winning Best Writing, Story and Screenplay Based on Factual Material or Material Not Previously Published or Produced.

The Way We Were (1973)

Regarded as his most successful romantic drama, Robert Redford stars in The Way We Were with co-star Barbra Streisand. The film depicts two desperate people who embark on a wonderful romance, but their political views and convictions drive them apart. As a box office success, the film was nominated for a multitude of awards and won the Academy Award for Best Original Song. With the release of the film, Redford became a worldwide heartthrob.

The Sting (1973)

George Roy Hill, director of “Butch Cassidy”, brought Newman and Redford together again for this tricky story about a few con men who team up and target a mob boss in 1930 Chicago. The film was received 10 Oscar nominations, winning seven, including Best Director, Best Picture, and Best Film Editing. The Sting became one of the top 20 highest grossing movies of all time and provided Robert Radford with his first and only Oscar nomination for Best Actor in a Leading Role.

All the President’s Men (1976)

This Academy Award-winning political thriller, All the Presidents, tells the non-fiction story about the two journalists (Robert Redford and Dustin Hoffman) investigating the Watergate scandal for The Washington Post. The dedication these journalists put into the story lead to a nationally shocking discovery. The film received numerous good mentions including 4 Academy Awards – and further secured legendary status for the two lead actors: Robert Redford and Dustin Hoffman.

Ordinary People (1980)

The 1970s marked Redford as Hollywood’s top box-office name, he continued to act in many mainstream films. However, in the 1980s Redford obtained a newfound focus on directing. The first film he directed, Ordinary People, depicted the dramatic story of the disintegration of an upper-middle class family in Illinois, following the death of one of their sons in a boating accident. Ordinary People showed audience and critics that Redford was as good of a director as actor. The film reached critical and commercial success, winning four Oscars including the Academy Award for Best Picture and a monumental win for Redford as he won Best Director.

Out of Africa (1985)

In one of his most recognized roles of his career, Robert Redford co-stars with Meryl Streep in the Award winning film, Out of Africa. The story follows a Danish baroness/platioation owner in 20th century colonial Kenya, and her passionate love affair with a free-spirited game hunter. The film reached momumental success, winning seven Oscars out of 11 nominations.

Quiz Show (1994)

Regarded as Redford’s finest movie as director, Quiz Show is an American historical drama film based on the Richard N. Goodwin memoir Remembering America. The film follows the Twenty One quiz show scandal of the 1950s, the rise and fall of popular contestant Charles Van Doren, played by Ralph Fiennes, and the Congressional investigator Richard Goodwin (Rob Morrow) subsequent search for the truth. The film was nominated for four Oscars including Best Director and Best picture. The film, to this day, holds a 96% rating from Rotten Tomatoes.

All Is Lost (2013)

In the 2000’s Redford participated in acting, directing, and producing, but was more interested in his role as a philanthropist. Robert accepted the role in the upcoming film, All Is Lost, bringing him back into the spotlight. Redford depicts an unnamed man in a solo voyage in the Indian Ocean, waking up to find his 39-foot yacht taking on water after a collision with a shipping container left floating on the high seas. With his navigation equipment and radio disabled, the man sails unknowingly into the path of a violent storm. Despite his success in patching the breached hull, his mariner’s intuition, and a strength that belies his age, the man barely survives the tempest. Introducing himself to an audience of a different generation, Redford has had high reviews and has had critics awaiting the release of the new film.

All Is Lost arrives in UK&Irish cinemas 26th December.

Feature - A New Wave in New Queer Cinema

Spurred on by the AIDS crisis, the social exclusion of homosexual men during the 1980s induced fear and anger from both sides of the gender boundaries. Wanting to break away from various pithy representations at the start of a new decade, UK and US based gay filmmakers such as Gregg Araki (The Living End), Todd Haynes (Poison) and the late Derek Jarman (Blue) sought to create films which were expressionistic and upfront in their frustration towards heteronormative boundaries and relationships. They represented a new way of belonging within a gay community, a stronger acceptance of a grounded identity where there was pride in being different. Knowing these films were completely unlike anything else, film critic B Ruby Rich classed this wave of filmmaking as ‘New Queer Cinema’ in a 1992 issue of Sight & Sound. Yet, as the 90s continued and breakthroughs with AIDS treatments progressed, homosexual identities became more politically recognised and accepted. As a result, the central gay character grew to be more present within mainstream (Philadelphia) and populist Indie (Beautiful Thing) film throughout the decade. Following the standard template of having an identity problem with being gay or living with AIDS, these forms of conflict seemed the only way of making a story interesting or crucial in forcing a statement.

However, by the end of the 90s, the activist force of ‘New Queer Cinema’ seemed to fizzle out as gay equality within Western society became stronger and more widely accepted than ever before. As a result, the representation of the triumphantly well adjusted homosexual man took over most narratives. In Hollywood, popular centralised gay storylines (Brokeback Mountain, Milk) still centred on weepy ideals, set within a certain time period, where central characters were martyrs to highlight just how significantly times had changed. As for the some of the original ‘New Queer Cinema’ filmmakers, after having said everything they needed to, they moved on to different styles and forms of storytelling, either within mainstream or independent productions. Since the popularity behind the politics resulted in a move into the ordinary, many of the early gay activists and filmmakers – who thrived in their difference from the hetero norms – would argue that the war for recognition, acceptance and equality is over. However, the lack of fluidity within the structure of gay narratives still created dissatisfaction with a few younger directors. Rather than portray the direct anxiety that can be faced with homosexuality or have gay characters completely represent the community, directors Andrew Haigh, Travis Mathews and Ira Sachs have created stories where this identity is a mere factor towards a more universal story. In their films, characters are already well adjusted with their identity. They lead a standard suburban life where the issues of death or coming out are not important. Most importantly, they do not fall into a perception of a gay community. Although these characters may struggle with issues of their identity, they are subtlety handled by these filmmakers, making their connection with other characters or their community resonate. It is a sudden and unique shift within ‘Queer Cinema’, but also a welcome one.

Haigh’s Weekend, released in 2011, proved to be a surprise hit for the filmmaker. The small production, detailing a brief - yet passionate - weekend between two very different personalities, earned consistent critical praise and box-office success (earning the second highest screen average on its opening week in the UK, behind Speilberg’s TinTin). Similarly, Matthew’s acclaimed 2013 film, I Want Your Love, charts the various sexual encounters of a local mid-twenties San Francisco hipster within his social circle of friends. Finally, Sach’s Keep the Lights On, follows a relationship set over a decade, from its amusingly awkward beginnings through to its tribulations with addiction. Although these stories may be different, the characters within them reveal various personalities and situations which are relatable to both homosexual and heterosexual audiences. With dialogue and performances that feel improvised and stylised hand-held cinematography, the naturalistic qualities of these works present how social boundaries within more everyday settings have been abolished. Rather than smack various issues over the viewer, these films treat their audiences with respect in regards to their intelligence and own experiences. Speaking exclusively to Mathews, he says ‘I don’t want to take someone’s hand and say ‘‘we are about to go somewhere gay and this is what you need to understand.’’ It is what it is.’

The existence of this new wave of film came from frustration. Before these filmmakers, there was merely a desire of wish fulfilment in seeing fully adjusted, happy, gay men within the media. For Haigh, films and television displayed a sense of contemporary gay life which he himself knew nothing about. However, Sachs was confused at why the subject of troublesome long-term relationships was never an issue, after experiencing one himself. Such was the popularity and importance of ‘positive’ representations within the media that Mathews believes that he and his peers are making progress in depicting the lives of gay men; ‘Not all of us are living perfectly well adjusted lives and I personally don’t want to shy away from something that could be seen as a bad portrayal. We can be just as flawed and interesting as the next guy and we [Mathews, Haigh and Sachs] want to show that.’

In showing the honesty and flaws within their characters’ lifestyle, each filmmaker relies on addressing the thorny issue of sex. Previously, the depiction of gay sex usually proved unjustified or a crass ‘will-they-won’t-they’ plot device. It provided cheap thrills or was thrown in for the sake or liberation of being able to show it. Yet, for these filmmakers, sex is integral in showing the normality within the everyday of a developing relationship. Unfortunately, this is an area which immediately classifies a direct demographic within these universal storylines. Unlike the works of Lars Von Trier and Derek Cianfrance (Blue Valentine), who approach the topic of sex within heterosexual relationships to drive their stories, the subject of gay sex can still divide an audience. As the character of Glen says in Weekend – when speaking about his personal art project – ‘straights won’t care because it’s not about their world.’ However, as many highbrow critics have noted, this is where the appeal of these three films lie. The topic of sex displays a generational experience within many contemporary works of rooting your identity and displaying who you are. With the ideas depicted within these films evidently crossing over the lines that have divided sexuality, the characters become more resonant purely because the story takes place within the relationship of two men. Yet, one might wonder that whilst the barriers of cultural sexual rigidity still remain slightly profound and – especially in this case – can divide an audience, would these characters ever be fully appreciated?

The reason Mathews wrote I Want Your Love was through bafflement over the void left within cinema where sex between two characters revealed an extension to their personality. However, what puts Mathews above the rest in his depiction of intercourse is that he had his actors perform live sex in front of the camera; ‘When two people try to or have sex, there is a lot of information exchanged and I didn’t want to shy away from it when telling my story. I could not present the intimacy with my characters without showing sex. I just feel like we’re in a place in time where the stories we’re telling about ourselves can be a bit more complicated and modern.’ Haigh, however, was more reserved. Developing his two characters before showing any intimacy, he takes an empathetic eye, allowing his scenes to feel more meaningful and personal for his two leads. In his own words, he says, ‘it was very important for me not to just shoehorn the sex into my film. I wanted to present the effect of the first encounter and have the audience understand the characters before revealing more. By the end of the film, you want them to enjoy the sex they have in their final moments together.’ As with Keep the Lights On, critics in the UK and US have applauded the portrayal of sex being naturally integrated and included in people’s everyday contemporary lives, rather than separated from it.

Within the context of these individual works, the depiction of intimacy provides a level of character development which is rare to find in a lot of cinema but progressive in how narrative forms are changing.
There is a sense of satisfaction that comes from watching these films. Not only are you witnessing a change in the norms of representing homosexuality, but they are making progression with the identity by setting it within contemporary urban landscapes. In moving gay identities to the background and having other facets contribute more towards these flawed characters, it injects a much needed sense of realism in depicting the lives of these people. Rather than hammer you over the head with the issues raised in these films - ideas such as muted homophobia in Weekend, faithfulness within relationships in Keep the Lights On, or the importance of a small community within a culture in I Want Your Love – they linger through their lack of force. In going underneath the larger issues and executing them with empathy and intelligence, it allows the universal appeal to open up which is liberating. It is invigorating seeing filmmakers embrace how much of a mess life can be sometimes.

David Darley