This is the third film by Lewis Klahr I've seen, and thus far the most narrative. It's a use of comic book iconography... in this case Jimmy from Superman... to explore homosexuality. Using such popularly recognized and friendly imagery to explore something that this society regards with such anxiety has a practically perfect effect. Someone who just seems to be normal, overall, someone we can count on for a little humor, has some internal struggle over who he is that results in some graphic imagery.
I would say it's a much better film than, say, Brokeback Mountain, which basically did everything it could to reinforce the knowledge that it's a movie about gay cowboys. This one gets into the anxiety in cut-outs and fractured sentences, with someone we don't automatically distrust from the very beginning, someone we could imagine as simultaneously from the 50s (the watered-down, washed-out version of it shown in pop culture, at least) and a friendly neighbor.
--PolarisDiB
I would say it's a much better film than, say, Brokeback Mountain, which basically did everything it could to reinforce the knowledge that it's a movie about gay cowboys. This one gets into the anxiety in cut-outs and fractured sentences, with someone we don't automatically distrust from the very beginning, someone we could imagine as simultaneously from the 50s (the watered-down, washed-out version of it shown in pop culture, at least) and a friendly neighbor.
--PolarisDiB
