ohn Greyson's Zero Patience, cantly, its false media representation. the AIDS crisis has precipitated what a follow-up to his 1991 short, Although, the word "on" is somewhat of has been deftly named an "epidemic of The Making of Monsters, offers a misnomer, as Greyson has tended to signification." Yet Greyson's style— a racy, post modern melange sidle up to an issue or an accepted tru- comic irreverence laced with political of camp, politics and (whew, ism, then circle back to playfully illus- savvy and methodological smarts— even) cultural theory. Mon- trate its tenuous foundations, question- serves his subject well. The film's range, sters was a searing musical ing the certainty of "knowing" in the its rapid shifts of tone from one discrete romp on anti-gay violence. first place. element to another, and its genre-bust- This time Greyson ups the No armchair activist, Greyson adopts ing pace (from musical to love story to stakes and delivers a spirited deconstructive wit as a weapon against lessons on bad science) suggests a unique musical mediation on—of all the commonplace, homophobia and talent. topics—AIDS. He reflects on policing of gay sexuality in particular, To mainstream audiences, Zero its ill-considered scientific regulation and oppression in general. Patience could be labelled perverse, reception and, most signifi- Zero Patience offers a filmic take on how risque, perhaps even outrageous or
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