Race d'Ep

1979
1 Std. 35 Min.

IMDb-BEWERTUNG

IHRE BEWERTUNG

Füge eine Handlung in deiner Sprache hinzuParis street slang for homosexual, is a four-part French film that argues that ''gay liberation was not born in the 60's'' but, instead, had its roots in the mid-19th century.Paris street slang for homosexual, is a four-part French film that argues that ''gay liberation was not born in the 60's'' but, instead, had its roots in the mid-19th century.Paris street slang for homosexual, is a four-part French film that argues that ''gay liberation was not born in the 60's'' but, instead, had its roots in the mid-19th century.

Regie
- Lionel Soukaz
- Guy Hocquenghem
Drehbuch
- Guy Hocquenghem
- Lionel Soukaz
Hauptbesetzung

Siehe Produktionsinformationen bei IMDbPro

IMDb-BEWERTUNG

6,8/10

IHRE BEWERTUNG

Regie
- Lionel Soukaz
- Guy Hocquenghem
Drehbuch
- Guy Hocquenghem
- Lionel Soukaz
Hauptbesetzung

1Benutzerrezension

Siehe Produktionsinformationen bei IMDbPro

Fotos

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Heimliche Freundschaften

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Land ohne Brot

5,5

13 Sentimentos

Handlung

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Wissenswertes
The program of shorts was X rated in October 1979 and was only released after a petition was signed by prominent figures such as Barthes, Chereau, Duras and Foucault, in a censored version.

Verbindungen
Edited from Royal Opéra (1979)

Benutzerrezensionen1

Rezension

Ausgewählte Rezension

9/10

Multiple director-personalities in the gay counterculture of the sixties

This movie differed very much from the other movies made by the great filmmaker Lionel Soukaz in that it seemed to be made by two totally different person's at once: as this movie was made in four parts for some crazy reason, the first and the third part were fascinating whereas the second and the fourth seem to be coming from someone more deranged of mind, more childlike. It makes the viewer wonder if this was really what the director wanted to say with his movie; that, perhaps, he had multiple personalities in his head telling him what to do. Definitely the history of the gay culture is interesting as is the whole chapter about the gay counterculture of the sixties, but those other two parts, really: what were they all about??? And what was Mister Soukaz thinking?! The answer, as with all his movies, is to be found within the self of the viewer at hand.