Filmes de Interés Gay

From the Pulitzer Prize-winning author of "The Hours" comes this brilliant film that redefines sexuality, love, and fidelity.

Although critics often resist the urge to pour praise like waterfalls, it is hard to do anything but gush over exquisite small jewels like 'A HOME AT THE END OF THE WORLD', Michael Mayer's measured and moving film adaptation of the novel by Michael Cunningham. Like similar films of its style and size -- You Can Count On Me springs immediately to mind -- it bears the marks of care and craftsmanship. Imperfect, uneven, and occasionally rough in spots, Mayer's new film wears its flaws like scratches and marks on a careworn antique, features that only serve to distinguish and enhance its overall uniqueness. The subject matter -- about a trio of friends who redefine sexuality, love, and fidelity to fit their own needs -- will not appeal to everyone, but then, the greatest art never has. Let the praise-laden waterfall commence...'A HOME AT THE END OF THE WORLD' is the finest cinematic study of relationships to come along in quite some time.

Cunningham, the Pulitzer Prize-winning author of The Hours, has turned his own earlier novel into a workable, adept screenplay that loses none of its wordplay or emonal impact. If prose can ever be characterized as "poetic", Cunningham's would fit the bill; the language nearly bursts with metaphor and emotion, powerfully magnifying every interaction. 'A HOME AT THE END OF THE WORLD' is a contemplation about the potentiality of our existence, of the possibilities inherent in living a life...the idea that not just anything can happen, but everything can happen. And yet, Cunningham is not simply awash in a gorgingly potent worldview. Even with all of life's bounty, he is keenly aware that human existence is solitary, and that our need for contact and love from others compels us through our days. As one of the characters says in 'A HOME AT THE END OF THE WORLD', we are all both beautiful and alone. It isn't quite a contradiction, or an oxymoron. It is, simply and magnificently, a revelation ootif reality.

Mayer, an award-winning theatrical director making his cinematic debut, is blessed with a calm, assured style and a talented cast that interprets Cunningham's tale with compassion and care. As childhood friends in Cleveland, the orphaned Bobby (Colin Farrell) and the geekish Jonathan (Dallas Roberts) bonded tightly; Bobby was even taken in after his parents' deaths by Jonathan's parents (Sissy Spacek and Matt Frewer). After high school, however, Jonathan left for New York, where he moved in with Clare (Robin Wright Penn). Bobby, lost and alone, eventually follows to New York, where he begins a relationship with Clare, who is still in love with the now-openly-gay Jonathan. Chronicling over a dozen years in their lives, 'A HOME AT THE END OF THE WORLD' measures the struggles of these three people to find a balance and future together as they grow up, change, and metastasize into a configuration outside of the mainstream...but not outside of a personal and contextualized normalcy.

Perhaps the biggest revelation for audiences will be Colin Farrell, who proves himself to be a much better actor that his hunky good looks or clunky blockbuster resume (Daredevil, Phone Booth, Minority Report) would indicate. As Bobby, Farrell finds the courage to wholly inhabit a gentle, slightly dimwitted, and ultimately soft persona -- Bobby is the antithesis of an action star role. His natural handsomeness is muted by his injured eyes and timid gestures, which make him a most endearingly sensitive lunkhead. For a Hollywood player on the rise as Farrell is, it is a surprising career move and an exceptionally commendable performance, neither show-offy nor self-aggrandizing. Male actors don't win awards for playing soft, but in a more perfect world, Farrell's performance would be rewarded with an Oscar.

Equally luminous are the performances by Sissy Spacek (In The Bedroom) and newcomer Dallas Roberts (Burn This). Spacek, unquestionably one of the great actresses of her generation, makes Alice her own without imposing any strictures that might upset the precarious balance of her character's incongruities. As a woman trying to adapt and reach beyond her own limits, Alice is the perfect embodiment of those women who rediscovered their self-esteem and direction midway through life. Likewise, stage veteran Roberts nimbly reveals the lonely pain behind Jonathan's cool Manhattan-ish flair. Futilely trying to disengage from emotional entanglements, Roberts' Jonathan is a walking contradiction performed with seamless precision. Also worth noting are the charming performances by Harris Allan (Queer as Folk) and Erik Smith (Cold Mountain), who play the teenage Bobby and Jonathan during the first quarter of the film.

Set against a rollicking, evocative 70's score featuring Laura Nyro, Jefferson Airplane, Leonard Cohen, Yaz, and Mozart, 'A HOME AT THE END OF THE WORLD' belongs in the pantheon of classic New York stories (even though the characters' search for roots lead them elsewhere for periods of time). New York City is itself, of course, both a real place and a metaphor, a combination of gritty geography and modern myth. Brimming with self-absorption and self-discovery, the unlikely dreamers of Cunningham's universe mirror those of classics like Annie Hall, The Apartment, Angels in America and Moonstruck. In the city that never sleeps, the possibilities of life are endless. And in Bobby, Clare, and Jonathan's home, there's always more life, in all its glory, waiting around the next corner. ~ Gabriel Shank

Film Information: 'A Home At The End Of The World'

Web: Cast, Bios and Additional Details at IMDb
Director: Michael Cunningham
Writer: Michael Cunningham(novel & screenplay)
Credits: Full Cast, Crew & Credits
Genre: Drama | Music | Romance
Awards: 1 wins & 4 nominations
Runtime: 97 min
Spoken Language: English

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