A young Jewish girl looking to escape the clutches of the Third Reich after seeing her parents and sister brutally slain while attempting to make their way to England is sheltered by an old... See full summary »
No kissing. No passive penetration. For Waseem the rules are very clear: When Lars pays him for sex then only in a way that he can reconcile with his heterosexuality. On the one side the ... See full summary »
A sexy, romantic and uncomfortably chilling story from first time director Marcelo Briem Stamm. Handsome middle class Manuel (Patrico Ramos), hurt by his previous relationship and bored ... See full summary »
Marcelo Briem Stamm
Max is gay and as such is sent to Dachau concentration camp under the Nazi regime. He tries to deny he is gay, and gets a yellow label (the one for Jews) instead of pink (the one for gays). In camp, he falls in love with fellow prisoner Horst, who wears his pink label with pride.
Sir Ian McKellen (Uncle Freddie) starred in the role of Max in the original London West End theatre production in 1979. See more »
Ever go to the Silhouette?
I never saw you there.
You weren't looking.
Good, you had taste. The White Mouse?
I'm surprised you never saw me there. Did you sunbathe?
I love to sunbathe.
[...] See more »
The film opens with the main credits revealing like a searchlight. See more »
For the U.S. release, the sex scenes were toned down from an "NC-17" rating to an "R" rated release. Both versions are available. See more »
Detailing the degradation of Nazi-regime victims...
Homosexual playboy in 1930s Germany fights to keep himself and his gay flat-mate out of the grasp of Nazi soldiers, but they are soon rounded up and face the horrors of war. This tough-going drama doesn't delve too deeply into the Party's initial conflict over homosexuality, but it does touch on the labeling of gay men with the Pink Triangle, making them perhaps even more reviled than the Jews (Clive Owen picks the yellow Star of David symbol over the triangle, figuring being a Jew might actually help him survive). Initially arty presentation has flashes of pretension, but is still gripping on a visual and visceral level and very well-acted. It's almost two different movies, however, with a work-camp second-half given an appropriately straightforward, if unexciting, treatment. Adapted from the controversial play, the last act has perhaps more going on than is actually revealed, and the viewer may either feel the movie loses its energy and soul during this portion or that it is successful on an entirely different level. In any case, difficult as an entertainment, but certainly worthwhile for those curious about this lost chapter in history. **1/2 from ****
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