Boy + Sikat + Das Phallometer

These are three short films dealing with queer refugees or migrant workers. Heartbreaking, infuriating, but also thoughtful and nuanced.


Sikat is a Filipina live-in domestic and nanny, eagerly awaiting the arrival of her husband and son to Canada. But when they do arrive her son doesn’t even recognise her…

The intertitle at the end explains that caregivers such as Sikat have to work in the same household for at least 24 months before they can begin the process of sponsoring their families for immigration, which takes at least three more years. In practice they may be separated from their loved ones for even longer than that, since many Filipino/a workers come to Canada by way of the Middle East or Western Europe.

Das Phallometer

Not knowing the show’s theme, I thought would be something weird and kinky. I was partly right: phallometric testing is a real thing! In this darkly humorous short it is used on an Iranian refugee at the Czech Republic border to test his claim that he really is homosexual. He passes the test, and the border guards welcome him with open arms.

Incidentally, this procedure was ruled by the EU to be demeaning and a violation of human rights, and discontinued several years ago.


Boy is the story of a Filipino illegal immigrant worker, living in a big city in (I think) the Netherlands. Semi-invisibly he makes the beds and cleans the counters, safely eavesdropping on his employers’ affairs and goings-on. When they do see him, it’s mostly as a submissive piece of ass, an idealised noble poor person, or a greedy ignorant poor person always on the lookout for the next sugar daddy.

All of this is true, none of this is true. Our unnamed protagonist is far from perfect, but he’s got a sharp mind, had a genuine (non-romantic) bond with one of his employers, the only one who enjoyed talking to him, and all his spare money goes to either his parents back home or to support his boyfriend’s budding dance career. He’s a fully fleshed out individual that no one else (not his boyfriend, not even the audience) can see truly.

Boy is a quietly intense, thoughtful piece that lets us step in the shoes not only of migrant workers but of any person considered “other” by the dominant culture.

Drunktown’s Finest

Drunktown’s Finest is writer/director Sydney Freeland’s look at life on a Navajo reservation reservation in New Mexico. It is harsh and brutally honest, but also loving and hopeful.

In the pre-show intro, Ms Freeland said that the movie was basically a coming of age story for three genders, and that sounds about right. Good girl Nizhoni, adopted by white parents but eager to find her roots; Sick Boy, waiting to ship out for the army but unable to stay out of trouble; two-spirited trans girl Felixia, dreaming of being a model while still respecting her heritage.

As a coming of age tale, the themes are about choices, recognising the consequences of your actions, and figuring out which of your dreams to hold onto. For Felixia and Sick Boy those dreams involved leaving, but in the end, maybe they found something better. Nizhoni already lived abroad but wished to reconnect with her biological family. She got exactly what she wanted and more, facing the unpleasant truth that her adopted parents had been lying to her for years.

But what I got out of the movie isn’t as trite as “stick with your people” or “follow traditions”. What I saw was a nurturing community with a culture of respect for gender variance… but also a lot of violence, homophobia, drug use and alcoholism, and people with neither solid roots nor a future to look forward to. Nothing is glossed over, and no one is pretending there are easy answers. There’s no telling where Sick Boy, Felixia and Nizhoni will go from here—but the movie’s conclusion was a new beginning rather than an end. There’s hope. There’s always hope.

Incidentally, it was an unusual (and welcome) experience for me to see see the world through another culture’s eyes, and white people as “others”: Nizhoni’s well-meaning but condescending parents; the ditzy blonde girl who (for whatever reason) tried out for a Navajo women’s calendar shoot; Felixia’s could-have-been sugar daddy on Facebook. It’s refreshing.

Boys / Jongens

This movie is a feast for the eyes with gorgeous cinematography of the Dutch countryside, and equally beautiful actors, but the story itself wasn’t anything special. With some variations on a theme, this is a tale as old as time (or at least, gay liberation) that we’ve seen a hundred times before. Still, knowing how things would turn out didn’t keep me from thoroughly enjoying it.

Quiet, withdrawn Sieger has just been promoted to his high school’s higher level track team where he meets the relaxed, outgoing Marc. The two hit it off right away, though Sieger backs off after their first kiss, claiming he’s not gay. What with the intense training for an upcoming regional relay race the two end up spending a lot of time together, both on and off the track. Sieger is clearly attracted to Marc but confused about what he wants, half-heartedly double-dating a girl with his friend Stef. Marc finds out, is understandably upset, and for a while it seems even the race is in jeopardy. But all’s well that ends well, as the two make up, their school handily wins the race, and they (literally) ride off into the sunset.

Though Boys‘ tropes are, to put it gently, well-worn, I believe in this case it’s the execution that matters. It’s a very sweet and beautifully produced movie, with fine acting and directing (and the aforementioned visuals). I will mention one thing that sets it apart from similar movies, though: no big coming-out drama. In fact, no coming-out at all. During the course of the film Sieg and Marc never told anybody they were dating, or that they liked boys (though it’s possible Marc’s family already knew). Stef did put 2 and 2 together when he wasn’t macking on his girlfriend, but he never said anything until the very end, and even then it was to be quietly supportive.

Which I find fascinating. I could blame it on questionable writing—the movie was short on character development and skipped over a couple of key scenes, including Sieg and Marc’s post-race reconciliation—but one could see it as a sign of the times. Traditionally teen coming-out stories are supposed to be accompanied by huge drama, anger, disownment or tears, with the occasional bashing from local bigots. But here? Apart from Sieg’s “I’m not gay” line (which you could take in any number of ways), there’s nothing to suggest being gay would be a big deal. Are things that relaxed in the Netherlands? Awesome if true.

Boys / Jongens is not a perfect movie, but a greatly enjoyable one if you don’t mind its flaws. Come for the visuals, stay for the running tips.

Aquaporko! and Grrrls in Space

A whole bunch of sexy, funny, inspiring and beautiful women’s shorts here!

Stop Calling Me Honey Bunny

Two lady rabbits (actually, women in rabbit suits) start off their relationship humping like… well, you know… but as time goes by the passion runs dry. Toys don’t cut it, and neither does role playing (and really, “hunter and prey”?). But they eventually realise they’ve gained more than they lost.

Gut-bustingly hilarious, and a sweet message at the end. Tied for favourite short so far!

Waack Revolt

Two women waack their hearts out over the decades, from 1940’s Hollywood to present day LA, paying the haters no mind. A gorgeous, catchy blend of visual genres.

(What’s waacking? I had to look it up so here you go: WaackNation)

Little Vulvah & Her Clitoral Awareness

A cute animated short of a little girl exploring the world, filled with visual metaphors for her girl parts. Not my thing, obviously, but visually quite beautiful.

Sunday / Söndag

Basking in the afterglow of their one night stand, two women start talking but discover they’re looking for very different things. An interesting little slice-of-life drama.


What is a sissy? This short by local filmmaker Jen Crothers explores the concept of sissiness, why it’s even a thing, and how it’s an awesome thing.

Secrets & Toys

An ultra-short film of two women trying on toys for the first time. Nicely acted, an interesting plotless slice-of-life bit.

What’s What

A cute little dance number about blurring gender lines.

Orbits / Orbitas

As the world burns in nuclear war, a lone soldier in an orbital space station befriends a beautiful alien. With stunning CGI animation and a heartwarming story, this is so far tied with Stop Calling Me Honey Bunny for favourite short. The world needs more queer sci-fi!

(Oh hey, it’s available on Vimeo. Enjoy!)


A documentary about Melbourne’s queer fat femme synchronised swimming team. Lovingly produced, awesome and inspiring.

Appropriate Behavior

What a coincidence, I was just thinking the festival could use some bi visibility!

Appropriate Behavior is a comedy of life and love in New York. It’s hilarious, often absurd and blissfully plotless (as life is). It’s what Seinfeld would be if Seinfeld were queer and R-rated. And actually funny.

But there’s more to this movie than laughs. Even when your life seems to be going nowhere and the only thing you can focus on is how best to stalk your ex-girlfriend, you gotta keep moving forward. Even when asking a pretty lady out in front of your ex leads to you taking part in a super-awkward threesome with some snobby couple you just met at the bar (okay, the girl was nice) well, at least you tried.

And if you’re overwhelmed by teaching that film class to five year olds, have faith that it gets better. Besides, your rival teacher’s pretentiously artistic final film is clearly trying too hard; your movie about farts and zombies is a lot more fun, and actually involved the kids.

Because really, isn’t life about being honest, letting go of your doubts, and trusting others? Don’t worry too much about what people think, just do what feels good. But don’t be that hipster douche showing off his squid tattoo, he’s just creepy.

Wow, this movie turned out to be surprisingly deep. Who would have thought?

The Way He Looks

The Way He Looks / Hoje Eu Quero Voltar Sozinho is sexy, sweet and, if you’ll pardon the pun, kind of an eye-opener. It’s basically an expansion of the award-winning 2010 short I Don’t Want to Go Back Alone / Eu Não Quero Voltar Sozinho—shown at the 2012 VQFF and available in full on YouTube—with the same actors, same core characters and a similar but more complex story.

The original plot was fairly straightforward: blind high school student Leo and his BFF Gia are both infatuated with handsome newcomer Gabriel, who becomes friends with both but ends up spending more time with Leo (to Gia’s chagrin). The two boys eventually discover their feelings for each other and the film ends with their kiss. The Way He Looks adds several characters—Leo’s overprotective parents, some school bullies, another girl with the hots for Gabriel—and a few extra layers to the story including, most importantly I think, a huge focus on Leo and his world as a blind teenager. This film is more than an adorable love story, it’s an excellent coming-of-age story as well.

I also appreciate how the film avoided some tired old coming-out clichés: for instance, Leo’s bullying classmates only went as far as asshole homophobic taunts and ableist pranks, never actual bashing. Not only has that been done to death, I don’t think it would have been appropriate in this kind of movie. The bullies did add a little bit of coming-out drama as Gabriel and Leo gradually became more than friends, but they—along with the overprotective parents—mostly helped to justify Leo’s need to spread his wings and test his independence: whether that’s in little ways like unlocking his front door himself or going for a long walk without telling anyone where he is, or in big ways like signing up for a foreign exchange program.

Leo and Gabriel have great chemistry and I loved them in everyone of their scenes together, but especially when one is teaching the other something. In particular Gabriel’s astronomy lesson, when he goes over what a lunar eclipse is all about but then has to explain terms like “illuminated” and “invisible”. He succeeds nicely, using rocks to show the relative positions of the Sun, Earth and Moon; as a bonus, it makes for a hilarious callback when Leo later mangles the eclipse metaphor with Gia.

I also want to compliment Ghilherme Lobo, the actor playing Leo. He doesn’t seem to be actually blind (or at least my Googling never mentioned it), but as far as I can tell he absolutely nailed it: never focusing on things with his eyes, even other people’s faces, which must have been a hard reflex to fight; using his hands or other senses to connect with the world; a very closed-off and defensive body language in unfamiliar or tense situations. Kudos for a fantastic performance.

One last point: the short’s title was I Don’t Want to Go Back Alone but Hoje Eu Quero Voltar Sozinho translates as “today I want to go back alone”. Interesting. I’m not sure, but it may be a reference to Leo’s growing independence.

The Way He Looks is a super-sweet love story that also made me think about the experience of people with disabilities. A win all around.

My 2014 Queer Film Festival Schedule

It’s that time of year again! Whoooooo!

And just FYI, I am planning to keep on writing reviews of the movies I see. I know, last year I fell way behind, though I did get them all done eventually… But I’ll do better this time, even if it means trimming the reviews themselves down a bit. Sometimes I have too many thoughts, y’know?

Thursday, August 14

Just the opening gala, and I am totally looking forward to it. I adored the original short, I Don’t Want to Go Back Alone / Eu Não Quero Voltar Sozinho, shown back in the 2012 VQFF.

Final choice: The Way He Looks / Hoje Eu Quero Voltar Sozinho

Friday, August 15


a) Boys / Jongens (a coming-out-slash-first-love-story between two 15-year-old boys) and Eastern Boys, “a seductive drama/thriller/love story” with hustlers and gangs and commentary on France’s immigration policies.


b) Appropriate Behavior (not sure what this one’s about. There’s lesbians and closet-related hijinks and pansexual explorations. I think it’s a comedy?); and A Street in Palermo / Via Castellana Bandiera, another lesbian comedy, this one satirising Italian society.

At this point I’m leaning towards international lesbian comedy. Besides, I’m less interested in Eastern Boys and I’ll have the chance to see Boys / Jongens later in the festival.

Final choice: Appropriate Behavior and A Street in Palermo / Via Castellana Bandiera

Saturday, August 16

I’ve got other plans that night, so I’ll only be able to see the early-early show, a documentary about Melbourne’s fat femme synchronised swim team, plus what looks like a bunch of sexy and/or funny shorts. Too bad, I would have liked to see GRIND: Hookup Shorts.

Final choice: Aquaporko! and Grrrls in Space

Sunday, August 17

Early-early show: Through a Lens Darkly: Black Photographers and the Emergence of a People, which is exactly what it says on the tin. Then it’ll be either:

a) Drunktown’s Finest, a drama of life, love and identities on a Navajo reservation; and A Self-Made Man, a documentary about transman Tony Ferraiolo and the trans youth he inspires,


b) Test, a love story set in 1985 San Francisco; and Bad Hair / Pelo Malo, a Venezuelan story of economic inequality, intolerance, and a working-class boy who wants to straighten his hair and become a performer.

Both sets look good! However, I’m slightly leaning towards the gay stuff.

Final choice: Through a Lens Darkly: Black Photographers and the Emergence of a People, Test and Bad Hair / Pelo Malo.

Monday, August 18


a) Boys / Jongens—see Friday above—and My Child / Benim Çocuğum, stories of families of LGBT people in Turkey. Probably not too different from last year’s Mama Rainbow,


Sins Invalid: An Unshamed Claim to Beauty, a documentary on sexuality, beauty and disabilities; and Out in the Night, the true story of the New Jersey 4.

Right, so I do want to see Boys, and why not get an extra helping of warm fuzzies with My Child?

Final choice: Boys / Jongens and My Child / Benim Çocuğum

Tuesday, August 19


a) I Feel Like Disco, a disco-flavoured coming-of-age story, followed by Hey, Hey My Kid is Gay, a panel discussion of LGBTQ allies; and Love is Strange, a drama with older gay characters, starring John Lithgow,


b) Boy + Sikat + Das Phallometer (3 shorts, the first of which is a drama of ambition and opportunism) and Pierrot Lunaire: Butch Dandy (a “gender-bending operatic thriller” adaptation of Andy Schoenberg’s poetic melodrama Pierrot Lunaire), which looks too weird to pass up. And I don’t even know what the hell Das Phallometer is about, except it adds up to “weird and German.” Suits me fine!

Final choice: Boy + Sikat + Das Phallometer and Pierrot Lunaire: Butch Dandy

Wednesday, August 20


a) Changemakers (a selection of local queer documentary makers) and The Coast is Queer (films by local queer filmmakers)


b) Test (see Sunday above) and Kate Bornstein is a Queer and Pleasant Danger, a look at the amazing artist and activist Kate Bornstein.

Easy decision, though. You don’t think I’d miss The Coast is Queer, do you? I mean, I’m skipping the last day of grass volleyball league to catch this show, that’s how much I want to see it.

Final choice: Changemakers and The Coast is Queer

Thursday, August 21


a) The Way He Looks (see Opening Gala above) and Eastern Boys (see Friday above)


b) The Centrepiece Gala, Children 404, an documentary on the lives of queer children and teens in Putin’s Russia, focusing on an online support forum of the same name currently under legal attack by the authorities.

This one’s easy as well: I’ll already have seen The Way He Looks and I’m not that interested in Eastern Boys.

Final choice: Children 404.

Friday, August 22


a) Tru Love, a lesbian love story set in Toronto; and Quick Change, a drama set in Manila’s underground trans women community.


b) The Third One / El Tercero, a sexy and romantic Argentinian drama; and Salvation Army / L’armée du Salut, a gay drama of identities, race, class and domestic abuse, set in Morocco and Switzerland, and based on an award-winning novel.

Final choice: tentatively, The Third One / El Tercero and Salvation Army / L’armée du Salut.

Saturday, August 23

Early-early show: POWER, “an edgy, hip-hop cabaret show” featuring a diverse youth cast, taking place in East Van with what looks like a strange meta storyline. Then it’ll be either:

a) The Dog, a documentary about John Wojtowicz the man who robbed a bank, served 20 years in prison and got played by Al Pacino in 1975’s Dog Day Afternoon; and Winter Journey, a weird Russian love/hate story between a refined opera singer and a street thug


b) Of Girls and Horses, a German coming-of-age lesbian tale set on a horse ranch; and Anita’s Last Cha Cha / Ang Huling Cha Cha ni Anita, a little rural Bulacan slice-of-life “with a few touches of magical realism thrown in”. Sounds nifty.

I think I’ll go with the lesbian stories this time around. I’m a bit curious about The Dog even though I’ve never seen Dog Day Afternoon, but Winter Journey might be too dark and gritty for me… plus I’m kind of in the mood for super-atmospheric, simple-storied German lesbian cinema.

Final choice: POWER, Of Girls and Horses and Anita’s Last Cha Cha / Ang Huling Cha Cha ni Anita

Sunday, August 24

Only one choice, the Closing Gala: a crazy rock-n-rolling musical with lesbian love triangles, the criminal underworld and a climactic battle of the bands. Fuck yeah.

Final choice: GIRLTRASH: All Night Long

TOTAL NUMBER OF SHOWS: 20. Yikes. But it’ll totally be worth it!

Vancouver Queer Film Festival 2013: Final Thoughts

Well, that was fun! A lot of movies seen, a lot lovely people met! The VQFF never disappoints.

Well, that was fun! A lot of movies seen, a lot lovely people met! The VQFF never disappoints. Let’s recap, shall we?

Number of films seen: 17. I’d originally planned 19, but decided to skip In-between Days and She Said Boom at the last minute.

Number of night I did not see a film: Just one: Saturday, August 17.

Length of time between the end of the festival and my last review: 20 days. Oy. In the past I’ve always been able to post reviews a day or two after each movie. This year it didn’t work out so well due to my being insanely busy right at the wrong time, and thus having little energy for blogging. To be honest that stressed me out more than it should have, and for the first time made me see writing reviews as something of a chore. That’s no good. I’ll need to plan things out better next year.

Favourite feature film: a tie between Chitrangada: The Crowning Wish and G.B.F. The former is a deep and touching tale of identity and transformation with mythological callbacks; the latter is a pants-wettingly hilarious comedy that gleefully plays with every high school and coming-out cliché in the book.

Favourite short film: Kimchi Fried Dumplings. Honourable mentions go to Bill is a Photographer and Bill Please! (also from The Coast is Queer), as well as all those amazing porn films of yesteryear.

Least favourite film: I Do. It looked good on paper, but the execution just didn’t work. On the bright side, it did convince me to go to International Village and watch In The Name Of… and Bwakaw, so that worked out all right.

Movies I would have liked to see but didn’t: R/EVOLVE, The Outs, Head of the Class and Who’s Afraid of Vagina Wolf?

Percentage of subtitled films I saw: not counting shorts, 69.23% or 9 / 13. Interesting. I didn’t even notice it until a couple days into the festival when it hit me that all the films I’d seen were subtitled, the first English-language feature film being Camp Beaverton on Wednesday. (Actually, Hors les murs / Beyond the Walls was missing subtitles for the first 10 minutes or so due to a technical snafu. I speak French so I didn’t mind too much.) It’s a nice reminder that queerness is not just a North American thing, and cultures all over the world have something to say on sexuality, gender and identity.

VQFF Review: Frauensee

I’m honestly not sure what to make of Frauensee. It was an interesting movie, well-acted, with some nicely-explored characters and gorgeous shots of the German countryside. But there was no real plot, no resolution to the personal drama or even to the one minor side plotline. It left me feeling vaguely frustrated.

I’m honestly not sure what to make of Frauensee. It was an interesting movie, well-acted, with some nicely-explored characters and gorgeous shots of the German countryside. But there was no real plot, no resolution to the personal drama or even to the one minor side plotline. It left me feeling vaguely frustrated.

Maybe I’m approaching it from the wrong perspective. My only previous exposure to German lesbian cinema is To Faro, the 2011 VQFF’s opening gala film, and it was similar in a lot of ways: big focus on atmosphere, minimal plot that left lots of room for emotional drama but without any real character growth, and a very open-ended conclusion that wasn’t so much a dénouement as just an ending, and which left a bittersweet aftertaste. So maybe this is typical of the genre?

Rosa is a warden looking over a lake in the country, setting traps and watching for poachers. Her lover Kirsten is a high-powered architect from the big city who owns and fully renovated a house by the lake, which she comes down to on the weekend to relax. Though half the time, she’s still running her business over the phone anyway. I think in her eyes Rosa is just a part of her weekend getaways: she enjoys them but has no interest in making it full-time. Kirsten does care about Rosa but doesn’t know anything about her world, and doesn’t particularly care to.

Case in point: the one side plot involves some mysterious poacher stealing fish from Rosa’s traps. If she catches him, Rosa would have every right to ban him from the lake, but Kirsten advises her to talk with him, get his side of the story, maybe find some middle ground that could keep both of them happy. Not only does this come of as really condescending, it just reflects how out of touch Kirsten is: I’m sure in the big city it’s all about compromise and you-scratch-my-back-I’ll-scratch-yours, but in the country, it’s not okay to steal from people and damage their property.

On the weekend’s first day, Rosa catches two young college students, Evi and Olivia, stealing from her trap (because they forgot to bring enough food) and setting camp on an island that’s a nature preserve (against Rosa’s explicit instructions). Instead of throwing the book at them, Rosa joins them and then invites them back to Kirsten’s house for dinner, then allows them to stay for a few days. Evi starts to hit on Rosa almost continually whenever she thinks they’re alone, and while Rosa is kind of annoyed, she isn’t exactly saying no either. Olivia isn’t thrilled either, though she’s learned to put up with Evi’s shameless flirting.

All of their tensions and frustrations come to a boil a couple days later during a booze- and pot-fueled party at the house, where everybody spills their guts to everybody else. Nothing actually changes, though, and I don’t know if anybody has learned anything. It was all revelations that the audience and most of the characters knew anyway, the only difference is that it’s all in the open.

The last scene shows Rosa leaving for work at dawn as usual, the three other women still sleeping. But where is Rosa really headed? Is she running away from all these new revelations? Is she finally leaving Kirsten and heading off into the sunrise of a brand new life? Or doggedly going back to work just to go through this same crap over and over?

So yes, like I said, an interesting film. It didn’t really speak to me, but I did quite enjoy it, not least because of the gorgeous shots of the lake—the huge sky, the rippling water, the surrounding woods, the wind in the reeds—and the glimpse of quiet German rural life. I’m not sure if it was the best choice for a closing gala film—the last two were definitely more upbeat—but hey: a little moodiness and introspection never hurt anybody.

VQFF Review: I Do

I Do is the first dud of the festival. It looked good on paper, and was pleasant enough to watch, but I found it preachy and uninspired, and overally very forgettable.

I Do is the first dud of the festival. It looked good on paper, and was pleasant enough to watch, but I found it preachy and uninspired, and overally very forgettable.

Ten years ago, Jack’s brother Peter was on top of the world: he’d just gotten his green card (they’re both British, having lived in the States since they were teens), and his lovely wife Mya was expecting; but later that night after a celebratory dinner he was run over by a car in full view of Jack and Mya. Since then, Jack has become a surrogate father to his niece and a quasi-husband-type-person to Mya and has focused pretty much all his emotional energies on supporting them. He used to be an avid photographer but now is employed as an assistant in a photo studio, repairing cameras and so on. He has little time for relationships, instead hooking up with fuckbuddies from time to time.

Then out of the blue, two things happen: Jack’s visa is about to run out, and due to new rules put in after 9/11 there’s no way to renew it in time. He wants to stay and help take care of Mya and Tara, but how? The only option is marriage, and that has to be to a woman. Even though same-sex marriage is legal in New York State, it is not recognised by immigration law. His sister-in-law—the first logical choice—will have no part of it, since it might lead to jail time if authorities found out the fraud. His next choice is his lesbian BFF Alison, who agrees.

Around the same time, he meets someone at a gallery showing: Mano, a suave, urbane, intellectual Spanish-American architect, and it’s love at first sight. But their budding romance is complicated by Jack’s need to maintain his straight masquerade, and his constant running off to take care of Mya.

Eventually, Alison gets spooked from repeatedly dealing with Immigrations and their questioning, and sitting home alone every night while Jack is gallivanting off with Mano, and asks for a divorce. Coincidentally, Mano has to return home to take care of his ill father. He invites Jack to move to Spain with him—they could even get married!—but Jack wants to stay in the US with Mya if he possibly can. In the end he can’t, and he accepts that he needs to live for himself instead of for Mya, so he moves to Spain to be with Mano. The end.

I think part of the problem with I Do is that it tried to shoehorn two different stories together: a political one, about gay marriage in the US; and a personal one, about Jack’s relationship with Mano and their respective family responsibilities. The rest of the problem is that neither of the stories were that engaging to begin with. The romance storyline was uninspired and by-the-numbers, and the gay-marriage storyline was clunky and preachy. I guess it tried to send a Big Message about love and how it must be respected, but it just seemed to be trying too hard.