DOCSLIB.ORG

THOMAS DEKKER HALEY BENNETT CHRIS ZYLKA ROXANE MESQUIDA JUNO TEMPLE KELLY LYNCH in Einem Film Von Gregg Araki Ein Film Von Gregg Araki

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THOMAS DEKKER HALEY BENNETT CHRIS ZYLKA ROXANE MESQUIDA JUNO TEMPLE KELLY LYNCH in Einem Film Von Gregg Araki Ein Film Von Gregg Araki WHY NOT U.S. PRODUCTIONS/DESPERATE PICTURES pr Ä sentieren in Z usa MM enar B eit M it WILD BUNCH und SUPER CRISPY »Der witzigste, schärfste und schrägste Film in Cannes!« li BÉ ration THOMAS DEKKER HALEY BENNETT CHRIS ZYLKA ROXANE MESQUIDA JUNO TEMPLE KELLY LYNCH in einem Film Von GreGG araki ein Film von Gregg Araki Der 18-jährige Smith geht in einer beschaulichen kalifor- nischen Stadt aufs College. Er will Filmemacher werden. Eines Nachts glaubt er auf dem Rückweg von einer Party gese- hen zu haben, wie drei Männer mit Tier masken eine junge, rot- haarige Frau töten. Unser Held begibt sich auf die Suche nach Opfer, Tätern und Motiv, lässt sich dabei aber, wie das in der Pubertät so ist, ständig ablenken. Zum Beispiel von seinem unfassbar attrakti- ven, aber auch unglaublich dummen Mitbewohner Thor, der schon mal versucht, Smith Tipps zu geben, wie man seinen eigenen Schwanz lutscht. Von seiner schlauen, zynischen besten Freundin Stella, die gerade von einer lesbischen Hexe so intensiv beschlafen wird, dass sie dabei Sterne sieht. Von London, der egal ist, dass Smith wahrscheinlich schwul ist, solange er sie vor Prüfungen entspannt. Und von einem attraktiven Typen am Strand, der nur mal kurz das Eine will. Regisseur Gregg Araki gewann mit diesem hochpolier- ten und schrägen Mix aus sexuell aufgeladener Teenager- Komödie und endzeitgemäßer Science Fiction die erste „queere Palme“ in Cannes. Eine verdiente Belohnung für einen verrückten Film, in dem die Welt, wie wir sie ken- nen, nicht anders kann, als schließlich – KABOOM! – auseinanderzufliegen. WHY NOT U.S. PRODUCTIONS/DESPERATE PICTURES PRESENT In ASSOCIATION WITH WILD BunCH AND SupER CRISPY THE GREgg ARAKI MOVIE »KABOOM« THOMAS DEKKER HALEY BEnnETT CHRIS ZYLKA ROXANE MESQUIDA wITH JunO TEmpLE AND KELLY LYNCH CASTIng JOHAnnA RAY C.S.A., JEnnY JUE C.S.A. MUSIC SupERVISION TIFFANY AnDERS MUSIC COmpOSED BY ROBIN GUTHRIE, ULRICH SCHNAUSS, MARK PETERS, VIVEK MADDALA COSTumE DESIgn TRAYCE GIGI FIELD PRODUCTION DESIGN TODD FjELSTED DIRECTOR OF PHOTOGRAPHY SANDRA VALDE-HANSEN ASSOCIATE PRODUCER BEAU J. GENOT CO-PRODUCER PAVLINA HATOupIS EXECUTIVE PRODUCERS SEBASTIEN K. LEMERCIER, PASCAL CAUCHETEUX, JONATHAN SCHWARTZ PRODUCED BY AnDREA SpERLIng, GREgg ARAKI, WHY NOT U.S. PRODUCTIONS WRITTEN AND DIRECTED BY GREgg ARAKI WWW.polyFilm.at WWW.salzGeber.de.
Load more

Recommended publications
  • Growing up with Vertigo: British Writers, Dc, and the Maturation of American Comic Books
    CORE Metadata, citation and similar papers at core.ac.uk Provided by ScholarWorks @ UVM GROWING UP WITH VERTIGO: BRITISH WRITERS, DC, AND THE MATURATION OF AMERICAN COMIC BOOKS A Thesis Presented by Derek A. Salisbury to The Faculty of the Graduate College of The University of Vermont In Partial Fulfillment of the Requirements For the Degree of Master of Arts Specializing in History May, 2013 Accepted by the Faculty of the Graduate College, The University of Vermont, in partial fulfillment of the requirements for the degree of Master of Arts, specializing in History. Thesis Examination Committee: ______________________________________ Advisor Abigail McGowan, Ph.D ______________________________________ Melanie Gustafson, Ph.D ______________________________________ Chairperson Elizabeth Fenton, Ph.D ______________________________________ Dean, Graduate College Domenico Grasso, Ph.D March 22, 2013 Abstract At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children. However, historians are not yet in agreement as to when the medium became mature. This thesis proposes that the medium’s maturity was cemented between 1985 and 2000, a much later point in time than existing texts postulate. The project involves the analysis of how an American mass medium, in this case the comic book, matured in the last two decades of the twentieth century. The goal is to show the interconnected relationships and factors that facilitated the maturation of the American sequential art, specifically a focus on a group of British writers working at DC Comics and Vertigo, an alternative imprint under the financial control of DC.
    [Show full text]
  • New Queer Cinema, a 25-Film Series Commemorating the 20Th Anniversary of the Watershed Year for New Queer Cinema, Oct 9 & 11—16
    BAMcinématek presents Born in Flames: New Queer Cinema, a 25-film series commemorating the 20th anniversary of the watershed year for New Queer Cinema, Oct 9 & 11—16 The Wall Street Journal is the title sponsor for BAMcinématek and BAM Rose Cinemas. Brooklyn, NY/Sep 14, 2012—From Tuesday, October 9 through Tuesday, October 16, BAMcinématek presents Born in Flames: New Queer Cinema, a series commemorating the 20th anniversary of the term ―New Queer Cinema‖ and coinciding with LGBT History Month. A loosely defined subset of the independent film zeitgeist of the early 1990s, New Queer Cinema saw a number of openly gay artists break out with films that vented anger over homophobic policies of the Reagan and Thatcher governments and the grim realities of the AIDS epidemic with aesthetically and politically radical images of gay life. This primer of new queer classics includes more than two dozen LGBT-themed features and short films, including important early works by directors Todd Haynes, Gus Van Sant, and Gregg Araki, and experimental filmmakers Peggy Ahwesh, Luther Price, and Isaac Julien. New Queer Cinema was first named and defined 20 years ago in a brief but influential article in Sight & Sound by critic B. Ruby Rich, who noted a confluence of gay-oriented films among the most acclaimed entries in the Sundance, Toronto, and New Directors/New Films festivals of 1991 and 1992. Rich called it ―Homo Pomo,‖ a self-aware style defined by ―appropriation and pastiche, irony, as well as a reworking of history with social constructionism very much in mind . irreverent, energetic, alternately minimalist and excessive.‖ The most prominent of the films Rich catalogued were Tom Kalin’s Leopold and Loeb story Swoon (the subject of a 20th anniversary BAMcinématek tribute on September 13) and Haynes’ Sundance Grand Jury Prize winner Poison (1991—Oct 12), an unpolished but complex triptych of unrelated, stylistically diverse, Jean Genet-inspired stories.
    [Show full text]
  • THE LIVING END: Panorama REMIXED and REMASTERED Dokumente Digitalisierte Fassung the LIVING END the LIVING END Regie: Gregg Araki
    PD_5153:PD_ 24.01.2008 19:48 Uhr Seite 204 Berlinale 2008 THE LIVING END: Panorama REMIXED AND REMASTERED Dokumente Digitalisierte Fassung THE LIVING END THE LIVING END Regie: Gregg Araki USA 1992/2008 Darsteller Luke Mike Dytri Länge 85 Min. Jon Craig Gilmore Format HD Doctor Mark Finch Farbe Daisy Mary Woronov Fern Johanna Went Stabliste Darcy Darcy Marta Buch, Kamera, Peter Scot Goetz Schnitt Gregg Araki Ken Bretton Vail Schnittassistenz Tommy Huie Barbie Nicole Dillenberg Sounddesign George Lockwood „7/11“-Pärchen Stephan Holman Ton Dave Cash Magie Song Joyce Brouwers Spaßmacher Peter Lanigan Jack Kofman Jon Gerrans Tonassistenz Marianne Dissard Jack Kofman Musik Cole Coonce Neonazi Christopher Mabli Songs Babyland Tarzan Michael Now Biohazard Jane Michael Haynes Braindead Sound Gus Peter Grame Machine Twister-Master Paul Bartel Cambodia Chris and Cosey Coil KMDFM Psychic TV u.a. Requisite Johanna Went Malereien Beth Muehl Produzenten Marcus Hu Jon Gerrans Co-Produzent Jim Stark Executive Producers Evelyn Hu Jon Jost Henry Rosenthal Mike Thomas Associate Producer Andrea Sperling Produktion Strand Releasing/Desperate Pictures 6140 W. Washington Blvd. USA-Culver City, CA 90230 Tel.: +1 310 8367500 [email protected] Weltvertrieb Fortissimo Films Van Diemenstraat 100 NL-1013 CN Amsterdam Tel.: +31 20 6273215 Fax: +31 20 6261155 [email protected] Craig Gilmore, Mike Dytri Foto: M. Matson THE LIVING END Mit seinem schwulen Roadmovie THE LIVING END (das schon 1992 im Berli - nale-Panorama lief) hat Gregg Araki einen Klassiker des „Queer New Wave Cinema“ geschaffen – und zugleich ein bis heute gültiges Dokument der Post-Punk-Ära. Schon das erste Bild – „Fuck The World“, auf eine Mauer voller Graffiti ge - sprüht – beschreibt ziemlich treffend die Verfassung der beiden Protago nis - 204 PD_5153:PD_ 26.01.2008 17:28 Uhr Seite 205 ten Jon und Luke, zweier HIV-positiver Männer.
    [Show full text]
  • Children Sexual Abuse in Araki's Mysterious Skin (2004)
    Children Sexual Abuse in Araki’s Mysterious Skin (2004) Loren Damayanti Maimunah English Department, Universitas Airlangga Abstract This study examines child sexual abuse happening to the life of the main characters in the movie Mysterious Skin. Mysterious Skin tells the story of two pre-adolescent boys who are sexually abused by their baseball coach, and how it contributes to their lives in different ways into their young adulthood. This research used qualitative approach and textual analysis to explore the experiences of two child sexual abuse victims. Using Freud’s psychoanalysis, this study revealed that sexual abuse has a great long-term impact on child caused by the traumatic events in past. It will evoke some psychological disorder which later will reflects in destructive behavior of child. The main characters, Neil, became male prostitute with same sex sexual orientation, and Brian developed defense mechanisms (repression, projection, denial) and re-occurrence dreams by attaching himself with the fantasy of alien abduction. In addition, it is also revealed how the main characters attempt to detach their painful memories. The study is expected to give more understanding about the serious contribution of child sexual abuse seen from different side, which is through behavioral outcomes. Keywords: child sexual abuse, defense mechanisms Mysterious Skin, sexual deviation Introduction Childhood is a part of individual life stages that must be passed through certain processes. Childhood period should be a period of delight and happiness for children, yet how if any unpleasant events such as traumatic event strike them? What happens during their adulthood development and what does the event consequences? Traumatic condition results from unpleasant event surely cause disturbance during the mental development because any painful memory experiences resulted from repressed emotional shock will produce a lasting harmful effect.
    [Show full text]
  • En Auteurstudie Av Ljus- Och Iscensättningar I Gregg Arakis the Living End, Nowhere Och Mysterious Skin
    UPPSALA UNIVERSITET RAPPORT NR: 2014vt01210 Institutionen för pedagogik, didaktik och utbildningsstudier Självständigt arbete på C-nivå inom Bild/IKT och media, 15 hp En auteurstudie av ljus- och iscensättningar i Gregg Arakis The Living End, Nowhere och Mysterious Skin Författare Handledare Charlotte Nordin Sundberg Staffan Lövgren Examinator Staffan Lövgren 2 Abstract Denna C-uppsats handlar om ljus- och iscensättningar i delar av tre filmer av regissören Gregg Araki. Syftet med denna uppsats är att genom filmanalytiska tillvägagångssätt undersöka hur Gregg Araki som queerfilmsskapare använder ljus- och iscensättningar för att etablera generella Arakiska stildrag. Mina analyser avser filmerna The Living End (1992), Nowhere (1997) och Mysterios Skin (2004). 50% av min undersökning har skett i skriftlig form och 50% genom visuell gestaltning, där jag skapat en musikvideo inspirerad av Gregg Arakis filmkonstnärsskap. Det jag kom fram till var att Araki genom återkommande specifika stildrag som t.ex. sex, sexualitet, utanförskap, dominering, droger och ett nihilistiskt förhållningssätt till samhället, förankrar sin auteurstil genom att plocka fram dessa teman i ljus- och iscensättningarna. Nyckelord: gregg araki, filmkonst, queerfilm, filmforskning, filmanalys, film, filmproduktion, iscensättning, ljussättning, filmkonstnärsskap, queer, mysterious skin, nowhere, the living end, auteur 3 Innehållsförteckning Inledning ..........................................................................................................................................................................
    [Show full text]
  • Tears Run Rings in Surges Deep Space Recordings
    Tears Run Rings In Surges Deep Space Recordings Release date: December 2, 2016 Formats: LP/Digital File under: Shoegaze Dreampop Indie Previous Deep Space releases: 'Distance' LP (Deep Space Recordings/Disaster Club) Distribution through Darla Laura – vocals & bass Matthew – vocals & guitar Ed – guitar Dwayne – drums Tears Run Rings is a long-distance relationship. In another life, these old friends were in the breezy, mid-90's indiepop combo The Autocollants, and founded the renowned indie label Shelflife Records. Now, separated by the cities of Portland, San Francisco, and Los Angeles, they collaborate through the magic of the internet. The band records in 3 separate studios, transferring tracks back and forth over the wires until they are perfect. In Surges, their third album, second for Deep Space Recordings, has been six years in the making. Over that time span, the band met up on several occasions to write, record, and mix the album together, in between starting families and recording separately. Full of lush guitars, haunting melodies, and layered, shimmering vocals, In Surges picks up where Distance left off. NOTES: • The track "Mind the Wires" is featured in the Gregg Araki's (The Doom Generation, Mysterious Skin) film KABOOM. • Ed and Laura live in Portland, Matthew in San Francisco, and Dwayne lives in LA. • The band writes their songs mainly by sharing tracks over the internet. They record in 3 separate studios. • Tears Run Rings has three previous releases to date: A Question and an Answer EP (2007), Always, Sometimes, Seldom, Never (2008), and Distance (2010). • Dwayne, Laura, and Ed began working together in the 1990s in the twee-pop outfit The Autocollants.
    [Show full text]
  • British Writers, DC, and the Maturation of American Comic Books Derek Salisbury University of Vermont
    University of Vermont ScholarWorks @ UVM Graduate College Dissertations and Theses Dissertations and Theses 2013 Growing up with Vertigo: British Writers, DC, and the Maturation of American Comic Books Derek Salisbury University of Vermont Follow this and additional works at: https://scholarworks.uvm.edu/graddis Recommended Citation Salisbury, Derek, "Growing up with Vertigo: British Writers, DC, and the Maturation of American Comic Books" (2013). Graduate College Dissertations and Theses. 209. https://scholarworks.uvm.edu/graddis/209 This Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks @ UVM. It has been accepted for inclusion in Graduate College Dissertations and Theses by an authorized administrator of ScholarWorks @ UVM. For more information, please contact [email protected]. GROWING UP WITH VERTIGO: BRITISH WRITERS, DC, AND THE MATURATION OF AMERICAN COMIC BOOKS A Thesis Presented by Derek A. Salisbury to The Faculty of the Graduate College of The University of Vermont In Partial Fulfillment of the Requirements For the Degree of Master of Arts Specializing in History May, 2013 Accepted by the Faculty of the Graduate College, The University of Vermont, in partial fulfillment of the requirements for the degree of Master of Arts, specializing in History. Thesis Examination Committee: ______________________________________ Advisor Abigail McGowan, Ph.D ______________________________________ Melanie Gustafson, Ph.D ______________________________________ Chairperson Elizabeth Fenton, Ph.D ______________________________________ Dean, Graduate College Domenico Grasso, Ph.D March 22, 2013 Abstract At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children.
    [Show full text]
  • God Help Me: Gregg Araki” Series to Feature Never-Aired, Rare and Early Works Selected by the Director Master Class with Araki on September 28
    FIRST AMERICAN RETROSPECTIVE OF NEW QUEER CINEMA PIONEER GREGG ARAKI THIS SEPTEMBER AT MAD “God Help Me: Gregg Araki” Series To Feature Never-Aired, Rare And Early Works Selected By The Director Master Class With Araki On September 28 Nowhere, image courtesy Warner Brothers New York, NY (August 19, 2013)— The Museum of Arts and Design presents the first American retrospective of New Queer Cinema cult auteur Gregg Araki this fall from September 19 through October 26. God Help Me: Gregg Araki will survey the director’s career thus far, with 9 films selected by Araki himself, including his rare early work Three Bewildered People in the Night (1987), the never-aired MTV pilot This is How the World Ends (2000) and the complete Teenage Apocalypse trilogy. MAD will also host a rare master class with the director on September 28. “Araki is a pioneer of American ‘90s independent cinema. He’s a filmmaker whose distinct voice and intelligent perspective on youth and queer culture have influenced so many others. His work plays with genres and narrative tropes, breaking from traditional structures, while addressing serious issues in culture. I hope that this retrospective will give audiences a rare opportunity to see all of Araki’s work, and introduce him to a new generation,” says Jake Yuzna, MAD’s Director of Public Programs. Widely regarded as one of the key directors of ‘New Queer Cinema’–-alongside figures such as Todd Haynes, Derek Jarman, Isaac Julien, Tom Kalin and Jennie Livingston— Araki came to prominence in 1992 with The Living End, a raw and intense road movie that premiered at the Sundance Film Festival that year.
    [Show full text]
  • Gigs of My Steaming-Hot Member of Loving His Music, Mention in Your Letter
    CATFISH & THE BOTTLEMEN Van McCann: “i’ve written 14 MARCH14 2015 20 new songs” “i’m just about BJORK BACK FROM clinging on to THE BRINK the wreckage” ENTER SHIKARI “ukiP are tAKING Pete US BACKWARDs” LAURA Doherty MARLING THE VERDICT ON HER NEW ALBUM OUT OF REHAB, INTO THE FUTURE ►THE ONLY INTERVIEW CLIVE BARKER CLIVE + Palma Violets Jungle Florence + The Machine Joe Strummer The Jesus And Mary Chain “It takes a man with real heart make to beauty out of the stuff that makes us weep” BLACK YELLOW MAGENTA CYAN 93NME15011142.pgs 09.03.2015 11:27 EmagineTablet Page HAMILTON POOL Home to spring-fed pools and lush green spaces, the Live Music Capital of the World® can give your next performance a truly spectacular setting. Book now at ba.com or through the British Airways app. The British Airways app is free to download for iPhone, Android and Windows phones. Live. Music. AustinTexas.org BLACK YELLOW MAGENTA CYAN 93NME15010146.pgs 27.02.2015 14:37 BAND LIST NEW MUSICAL EXPRESS | 14 MARCH 2015 Action Bronson 6 Kid Kapichi 25 Alabama Shakes 13 Laura Marling 42 The Amorphous Left & Right 23 REGULARS Androgynous 43 The Libertines 12 FEATURES Antony And The Lieutenant 44 Johnsons 12 Lightning Bolt 44 4 SOUNDING OFF Arcade Fire 13 Loaded 24 Bad Guys 23 Lonelady 45 6 ON REPEAT 26 Peter Doherty Bully 23 M83 6 Barli 23 The Maccabees 52 19 ANATOMY From his Thai rehab centre, Bilo talks Baxter Dury 15 Maid Of Ace 24 to Libs biographer Anthony Thornton Beach Baby 23 Major Lazer 6 OF AN ALBUM about Amy Winehouse, sobriety and Björk 36 Modest Mouse 45 Elastica
    [Show full text]
  • Home Is Where the Heart Is? : Identity and Belonging in Asian American Literature
    Home Is Where the Heart Is? Identity and Belonging in Asian American Literature Inaugural-Dissertation zur Erlangung des Grades eines Doktor der Philosophie in der Fakultät für Philologie der Ruhr-Universität Bochum vorgelegt von Heike Berner Gedruckt mit der Genehmigung der Fakultät für Philologie der Ruhr-Universität Bochum Referent: Prof. Dr. David Galloway Koreferent: Prof. Dr. Gerd Stratmann Tag der mündlichen Prüfung: 15. Januar 2003 Danksagungen Für die Unterstützung, die ich beim Schreiben dieser Arbeit erhalten habe, möchte ich hier stellvertretend einigen Menschen danken: Jungja und Gerd Berner, Christian Jungck, Bob und Diana Lee, Sharlyn M. Rhee, Elaine H. Kim, Steven Lee und Ruth Desmond, Yong Soon Min, Kyungmi Shin, Young Chung, Jean Shin, Rocío Davis, Josh Kavaloski und Jamie Lee, David Galloway und Gerd Stratmann und meinen Freundinnen und Freunden und Kolleginnen und Kollegen. 4 Contents I. Introduction 6 A. Identities 10 B. Mistaken Identities 15 II. Discourses on Identity in Asian America 19 A. Aiiieeeee! 19 B. The Big Aiiieeeee! 24 C. Other Points of View 25 D. 'Got Rice?' – Asian American Studies Then and Now 35 III. Identity and Belonging in Asian American Classics 43 A. "Asian American Classics" 43 1. John Okada: No-No Boy 44 a) Historical Background 44 b) Short Summary 48 c) Identity Conflict 49 d) Finding an Identity 51 2. Louis Chu: Eat a Bowl of Tea 61 a) Historical Background 62 b) Short Summary 63 c) Identity Conflict 64 d) Solution 67 3. Okada, Chu, and the Aiiieeeee!-editors: Asian American Realism 68 B. Maxine Hong Kingston: Of Women Warriors and China Men 71 1.
    [Show full text]
  • Keynotes, Abstracts and Biographies
    Beyond the Culture Wars LGBTIQ History Now Keynotes Jagose, Annamarie, ‘Our Bodies, Our Archives Given that the term “culture wars” is a distinctively American import, when we come to thinking about how it might resonate in our Australian contexts, it is worth keeping in mind the materiality of place. After some consideration of my own embroilment in cultural contestation regarding my queer research program, I return to this notion of the materiality of place to suggest that the archive offers us capacious opportunities for engagement that move beyond the agonistic stand-offs associated with what Janice Irvine describes as the “recursive, unyielding civic arguments popularly known as culture wars.” Bio: Annamarie Jagose is internationally known as a scholar in feminist studies, lesbian/gay studies and queer theory. She is the author of four monographs, most recently Orgasmology, which takes orgasm as its scholarly object in order to think queerly about questions of politics and pleasure; practice and subjectivity; agency and ethics. She is also an award-winning novelist and short story writer. Wilcox, Melissa, ‘Apocrypha and Sacred Stories: Queer Worldmaking, Historical “Truth,” and the Ethics of Research in Living Communities’ While historical research may always have contemporary consequences, in that the tales one tells of the past are rarely inert or disinterested in the present day, the epistemological and ethical challenges of historical research within living communities are particularly marked. The field of religious studies offers one framework for thinking through such challenges in its long-standing attention to the potency of sacred story, whether specifically religious or not, for the enterprise of worldmaking.
    [Show full text]
  • Révolte Par La Forme / Kaboom — États-Unis / France 2010, 86 Minutes]
    Document généré le 25 sept. 2021 14:41 Séquences La revue de cinéma Révolte par la forme Kaboom — États-Unis / France 2010, 86 minutes Sylvain Lavallée Numéro 273, juillet–août 2011 URI : https://id.erudit.org/iderudit/64825ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer ce compte rendu Lavallée, S. (2011). Compte rendu de [Révolte par la forme / Kaboom — États-Unis / France 2010, 86 minutes]. Séquences, (273), 45–45. Tous droits réservés © La revue Séquences Inc., 2011 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ Critiques | Les films 45 Kaboom Révolte par la forme Premier récipiendaire de la Queer Palm au Festival de Cannes en 2010, un nouveau prix récompensant des films abordant la question gaie, Kaboom ne présente pas tant un portrait de l’homosexualité qu’un éventail de toutes les formes possibles de sexualité, la distinction homosexuel/hétérosexuel y semblant dépassée. En fait, toute notion de frontière est étrangère au film, celui-ci déploie une esthétique de la transgression fondée sur un curieux amalgame de genres, de tons et de références disparates, unis sans souci de cohérence.
    [Show full text]