JE T’AIME MOI NON PLUS

4K Restoration. Cult icon Serge Gainsbourg wrote, directed, and scored this tale of doomed love between a lonely truck stop waitress (Jane Birkin) and a gay, hunky garbage truck driver (Joe Dallesandro), whose boyfriend (Hugues Quester) becomes increasingly jealous of the two. Sharing the title with Gainsbourg and Birkin’s sexually-explicit 1969 hit pop song, Je T’Aime Moi Non Plus is an equally provocative depiction of sexual gratification told through an unlikely couple.

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KAMIKAZE HEARTS

 

This San Francisco-set documentary offers a dramatic look into the personal lives of Sharon Mitchell, queen of her day in the adult film business, and her girlfriend, Tigr, as they negotiate the ups and downs of life and relationships in the business.

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NEON BULL

Wild, sensual, and utterly transporting, Brazilian writer-director Gabriel Mascaro’s second fiction feature unfolds within the world of the vaquejada, a traditional exhibition sport in which cowboys try to pull bulls to the ground by their tails. Neon Bull explores the vaquejada through the eyes of Iremar (Juliano Cazarre), a handsome cowboy who works the events. While he’s not afraid to get his hands dirty, Iremar’s real dream is to design exotic outfits for dancers.

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SEBASTIANE

Derek Jarman’s (Caravaggio) feature film debut (co-directing with Paul Humfress), SEBASTIANE is a “one of a kind” historical drama which lays bare the latent homoeroticism that has always lurked beneath the glossy surface of Hollywood biblical epics. Telling the story of the martyrdom of St. Sebastian in the same way that Italian Renaissance painters used the image of Sebastian to eroticize the male nude, Jarman depicts both earthly lust and spiritual yearning with “an honesty and directness that’s the absolute opposite of camp.” (The Guardian).

Audaciously spoken in Latin and supported by one of cult composer Brian Eno’s best music scores, SEBASTIANE is both a milestone of British independent film and a pioneering work of queer cinema.

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VARIETY

Christine (Sandy McLeod), a bright and unassuming young woman, takes a job selling tickets at a porno theater near Times Square. Instead of distancing herself from the dark and erotic nature of this milieu, Christine soon develops an obsession that begins to consume her life. The character’s reaction unexpectedly flips normal gender roles; director Bette Gordon daringly twists feminist ideology by showing a woman who finds self-expression through an interest in pornography. Variety becomes even more provocative when it dramatizes the changes that occur in Christine’s relationships with both Mark, her boyfriend, and Louie, a dangerous-looking patron of the theater.

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