AKA is the story of a disaffected youth's search for love, status, and identity in late 1970s Britain. 18-year old Dean is handsome and bright, but feels hampered by his working-class ...
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In 1950's Hollywood, movie star Guy Stone must marry a studio secretary in order to conceal his homosexuality. Sally has no idea her marriage is a sham, though, and turns Guy's life upside-down. Then he falls in love.
AKA is the story of a disaffected youth's search for love, status, and identity in late 1970s Britain. 18-year old Dean is handsome and bright, but feels hampered by his working-class background and by his family, which includes a sexually abusive father. In order to make something of himself, Dean assumes another identity and manages to enter high society. As he navigates this decadent new world, he meets a host of characters, including David, an older gay man who desires him, and Benjamin, a young hustler from Texas who has also managed to find a place among the aristocracy. Can Dean find love while living a lie? How much is he willing to sacrifice in order to pull off his charade? Presented through three simultaneous frames rather than one.
At about 1 hour of the movie, Benjamin woke up to a phone call. It was for Dean. So Dean half sleepy, came out of his room half naked, answered the call. As the camera switched a position, all of sudden, Dean was fully clothed, wearing a yellow turtleneck, fully awaken; while Ben was still wrapped in a towel. See more »
Great story in a fascinating new film with idiosyncratic technical device
"AKA" is a compelling new film from the U.K. by Duncan Roy. It's making the rounds of the American queer film festivals this year and was shown three times here in New York at the New Festival.
It's one of those dramatic experiences that hangs around long after you have left the theater. Extremely well acted and directed, with a brilliant eye behind the camera, it's really the story which finally knocks you out. Is it a documentary? Actually, it feels like you are being taken along on a real anthropological expedition, but without the accompanying mess of cables and microphones and improvised scenes. The director hints at an autobiographical source for his work, but even without that suggestion the film moves in a real world of fantasy, fantasy here for both the nobs and the snobs.
Oh, I almost forgot, an (almost?) innovation incorporated in the film is the projection of three side-by-side frames of nearly simultaneous action and sound rather than the single frame and single sound track which has limited our experience of movies for about a hundred years. This eccentricity was disconcerting at the beginning of the film but while its distractions were eventually replaced by the arguable pleasures of a sort of cinematic cubism, I think the verdict may still be out on this subject.
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