Beach rats gay movie
The realms of male sexuality are often violently policed. You’re either straight and fit in or you’re gay and will be ostracised. There’s little vacuum for exploration and straight men doing gay things will often get bullied and shunned for it or will come up with ingenious ways of avoiding having to be associated with gayness, yelling “no homo” is but one example. It is this cosmos of confusion and prejudice that the film Beach Rats explores as 19 year-old Frankie navigates the boardwalks of Coney Island. Inspired by a selfie of a little topless guy in a baseball cap (yup, this movie was based on a selfie) this film premiered at the Sundance Clip Festival back in 2017 and won much critical praise. There is much to praise – plenty of monumental writing, acting and filming, but it’s the central story I want to critique and the tropes used to tell it. Ultimately, I find this film as lost as its protagonist, and not in a good way.
Firstly, the writer-director Eliza Hittman has been very clear in numerous interviews that this is neither a coming out nor a coming of age movie, she calls it “a coming of consciousness” story as Frankie tries to get to recognize himself. He does so by taking dru
To say that Frankie, the protagonist of Eliza Hittman's film Beach Rats, is a young gay dude living in Brooklyn is misleading. First, Frankie (played expertly by Harris Dickinson) refuses to spot as gay, despite the fact that he regularly trawls a gay chat site called Brooklyn Boys and on occasion meets up with its fellow-users for sex. Second, this isn't the Brooklyn of high-rise condos and nitro cold brew. It's working-class, socially unprogressive South Brooklyn—Sheepshead Bay, Gravesend, Gerritsen Beach, and the like—and it is not, to say the least, the leading place to be gay.
Beach Rats, which earlier this year won Sundance's Top Director award for U.S. Dramatic, is writer-director Hittman's second film, after 2013's It Felt Like Love. If Beach Rats were that film's sequel—both document the sexual becoming of a teen in South Brooklyn—it might have been called It Felt Appreciate Anything But. There's little love in Frankie's anonymous sexual encounters; little adore in his partnership with Simone (Madeline Weinstein), a neighborhood girl whose affections torment Frankie in his inability to reciprocate them; and little love at home, where his father is dying of cance
5/10
Doesn't really go anywhere
This is another one of those gay themed movies that tries to show some deeply hidden emotions or something, but instead goes nowhere.
Let's start with what's good first... Most of the cinematography is attractive good - expect for overly shaky camera in few scenes. There is a lot of eye candy in terms of shirtless guys and more - can help in making the movie at least a bit more interesting. And the acting isn't totally bad. At least the actors don't feel stiff.
Sadly that is where good things conclude. There is little dialogue in the movie, though that is not always a bad thing. But in this movie it actually is. Because we don't really see any character development and no real story. We own a young guy that takes drugs, has sex with older men and spends time with his friends doing stupid things. That's almost the entire story. Backing characters contain no names, no traits and really don't undertake anything. Main character... lovely much the same. No ambitions, no desires, no anger, nothing. He just is. Pretty much the whole thing can be seen in the trailer.
You will get the identical story if you peer at p
Beach Rats
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7jholrodrigues
The picture of boys that never get to self acceptance
A picture of a sadness life of a boy that has gay tendencies while is surrounded by a toxic masculinity context. It just made realize how many guys must had experienced horrible relations with other mans because they don't accept themselves. The film don't pretend to own a happy ending and it was a excellent way to represent the internal conflict of self acceptance that for a lot of mens ends never happening. May be a good example of what not to complete for some boys out there.
Red_Identity
Painful and tragic
Woah. I knew almost nothing going into this but it really affected me appreciate few films this year. It was tough seeing such a repressed, perplexed character in such a dark state of soul, especially one that was going through such a similar experience to many others and I in the LGBTQ+ community. The lead, Harris Dickinsion, was so authentic and truthful, it made it that much more difficult to watch him go through what he does here. The film doesn't hand over anything in terms of a satisfying conclusion or tidy little arc. Instead, it becomes harder to watch the more it
Who Gets to Make Movies About Gay Sexuality?
In the summer haze of the Coney Island boardwalk, a teenage boy begins to wonder, and worry. He easily picks up girls under the fireworks, but he can’t perform when he brings them residence. At night, he snaps pictures in front of a mirror, shirtless, jaw and chest contorted, eyes burning forward with a hook-up site beginner’s misplaced aggression. He smokes and partakes in petty crime with the local tank-topped miscreants his own age, but alone, he can’t stop cruising a homosexual sex site, where he always seems to pause on men many years older than him. Soon he agrees to gather one of them, and his first won’t be his last.
Frankie (a spectacular Harris Dickson), unsparingly chronicled in the claustrophobic unused drama Beach Rats, resists the idea that having sex with men makes him gay. Categorizing the film is no less complex. This is not your friendly neighborhood coming-out movie; no one comes out, for one thing. It imagines a complicated, self-destructive sexual awakening decidedly removed from the confines of coming-of-age queer cinema. But it does highlight some of the bluntest gay sex I’ve seen in a mainstream production, with raw eroticism and