I am not a fan of most American gay films. In fact, many remind me of 1980s California high school films, like "Breakfast Club". Gay cable networks certainly haven't helped to refine the quality of gay cinema in the U.S.. After seeing the French "Stranger by the Lake", for example, I was annoyed that the U.S., a leader in LGBTQ politics, still has a largely puerile gay cinema catalog.
"Getting Go, The Go Doc Project" is a big step in the right direction. The artistry of this film and its excellent acting by Tanner Cohen and Matthew Camp is seductive. It presents as a documentary and is totally believable as such. In fact, I felt voyeuristic in the sex scenes because they were so convincingly human and genuine.
The interactions between Doc and Go transported me back 45 years to my own experiences with first infatuation and sexual exploration in friendship. The mattress discussions between Doc and Go about present-day gay male issues were more candid and pertinent than many pages of published gay observers, and in fewer words. The serial public kissing scenes around Manhattan, despite mimicking Warhol, struck me as passionate, intensely erotic and profoundly political, all at once.
I didn't expect to become engrossed in Doc's and Go's world, but I did. Partly because I was revisiting a real urban gay world in which I once lived myself. Since my life hasn't been one of a suburban marriage with children, I found this tremendously moving and encouraging. This movie asserts that there is still a gay male culture aside from heterosexual-lite.
"Getting Go, The Go Doc Project" is a big step in the right direction. The artistry of this film and its excellent acting by Tanner Cohen and Matthew Camp is seductive. It presents as a documentary and is totally believable as such. In fact, I felt voyeuristic in the sex scenes because they were so convincingly human and genuine.
The interactions between Doc and Go transported me back 45 years to my own experiences with first infatuation and sexual exploration in friendship. The mattress discussions between Doc and Go about present-day gay male issues were more candid and pertinent than many pages of published gay observers, and in fewer words. The serial public kissing scenes around Manhattan, despite mimicking Warhol, struck me as passionate, intensely erotic and profoundly political, all at once.
I didn't expect to become engrossed in Doc's and Go's world, but I did. Partly because I was revisiting a real urban gay world in which I once lived myself. Since my life hasn't been one of a suburban marriage with children, I found this tremendously moving and encouraging. This movie asserts that there is still a gay male culture aside from heterosexual-lite.