Category Archives: Peccadillo

From Goddess to Satanist – Making Mansfield 66/67

We talked to MANSFIELD 66/67 directors P.David Ebersole and Todd Hughes about their devilish documentary which spotlights the mysterious final years of Hollywood bombshell Jayne Mansfield.

Jayne Mansfield and Anton LaVey

Jayne Mansfield and Anton LaVey

Jayne’s uneasy intersection with that moment of American history meshed perfectly with our common interests in people who live as outsiders, especially those who experience a questioning of faith and how that expands an acceptance of mans’ multiplicitous nature, be it expressed in sexually adventurous behaviour or non-traditional paths in life. All very heady thoughts when you are talking about an alleged affair between a woman known best for having the body measurements of 40-21-35 and a man who liked to wear plastic devil horns and a red cape to impress girls!

Together, for close to twenty years now, we have researched and collected Jayne and Anton literature and artifacts trying to piece together this mysterious story as a narrative feature script. But we found ourselves not very interested in the “simple” idea of making an exposé where we were might try to dig past the rumours and legends to expose the absolute truth, but rather found ourselves fascinated by creating a celebration of the storytellings and spectacles which have ingrained themselves into the lore and accepted truths of Hollywood Babylon. For instance, although it has been disproven many times, many people today still insist that Jayne Mansfield was decapitated, preferring to hold on to the gory hearsay in lieu of accepting the reported facts. Why? What is more interesting about that which may not be true but lives on in the collective unconscious?

 

Mansfield 66/67 Documentary

Mansfield 66/67 Documentary

First, we set out to interview subjects with not just first hand experience of either Jayne or Anton, but hopefully people who might hold deeper thoughts about either or both of them and/or their alleged relationship with each other. We reached out to find contemporaries who may or may not have been their colleagues, artists who expressed being influenced by one or the other, theorists and feminists who might have a take on it all, film scholars who could put their careers into context with each other, experts in Hollywood gossip — essentially a melting pot of people who could only comment on what they heard rather than who could, say, confirm the veracity of the stories being told.

On an artistic level, we felt that telling this as a “true story based on rumour and hearsay” required that we created our supporting material in the same vein. This is what inspired us to use what we call emotional dance numbers and experimental film and performance sketches to ruminate and try to understand the extraordinary circumstances which lead up to Jayne’s tragic death.

Directors P.David Ebersole and Todd Hughes at a Q&A screening of Mansfield 66/67.

Directors P.David Ebersole and Todd Hughes at a Q&A screening of Mansfield 66/67.

MANSFIELD 66/67 is available on DVD and On-Demand from the 25th June.  Read more here.

The Wound – When Controversy Prompts Conversation

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John Trengove’s debut feature and Oscar-shortlisted film, THE WOUND (INEXBA), has been bestowed with accolades and critical acclaim; going on to sweep the South African Film and Television Awards this past month. With such success, there was always bound to be a degree of controversy. As with any hard-hitting film that delves into themes of sexuality, masculinity and culture; finding a consensus can be difficult, if not impossible.

The controversy in question focuses on the way in which the film handles its depiction of the Xhosa ethnic group and the rite-of-passage ceremony these young men are put through as they transition to manhood. A call to ban the film was effectively successful in South Africa but has since been overturned, allowing it a full run in cinemas. Critics of the ban and controversy have pointed to an inherent homophobia that underlines the backlash – claims that are exacerbated by the fact the film hadn’t even been released when the controversy began to emerge.

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Nevertheless, isn’t any dialogue surrounding a LGBT film helpful? Isn’t a film like this essential in reaching out to queer black men and women in the 8 million strong Xhosa ethic group? Shouldn’t Cinema provide a voice to those who are oppressed?

First and foremost we must address the very nature of the controversy and how some have argued that the film exposes private and secretive cultural traditions. Furthermore, critics have contended that the filmmakers had no right to explore these customs; attacking the film as an appropriation and distortion of their culture. However, the films depiction of these traditions is never exploited. Rather, director John Trengove directly avoids graphically depicting the ceremonial event and maintains a level of ambiguity that respects the culture but also underlines the focus of the film: a love affair between two men.

When a film such as THE WOUND is classified as R-rated and essentially deemed ‘pornographic’, isn’t it essential to debate these issues? Oppressive and draconian reactions to the tougher aspects of the film are an attack on both free-speech and art itself. With cinema, audiences are given the opportunity to submerge themselves in different cultures, ideas and mind-sets. To be transported, shocked and even inspired.

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John Trengove argues that the setting of the film is in direct resistance to ideas perpetuated by many African leaders; some whom have suggested homosexuality is un-African and a symptom of western decadence. In an interview with Peccadillo our friend the film’s director stated: “We knew we wanted to tell a story about same-sex desire in a specifically African culture”, directly challenging African taboos around homosexuality that has been embedded into their culture. The filmmaker’s bold storytelling not only opposes these beliefs, it also encourages a much-needed conversation.

Devoid of the freedom that cinema can provide, people are bound to be more close-minded, more Orwellian and more muted. Cinema – no matter how hard-hitting – gives us all a voice.

So, endeavour to go and see THE WOUND when it hits UK cinemas on 27th April 2018; make up your own mind about the film and engage in a much-needed dialogue with those around you. That’s what Cinema is all about!

Drawing Gabrielle by writer/director Lisa Gornick

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What happens when a lesbian wants to be a man and then meets a man who makes her change her mind?

The Book of Gabrielle is a comedy about a woman who is writing a graphic book about sex. She meets Saul, an older novelist who also writes about sex and the writing of whom she absorbed since she was a child. He gets off on her being a lesbian, she wants to explore her inner man through him. Would they unblock each other or get in each other’s way?

 

All my three features are self-portraits but not autobiography. They’re drawings of who I am, not realistic photographs. So with this film I know I have a man within me. I also know that man has ways about him that I would detest in a real man. That’s the nub of the film in a way, exploring our inner men, even if they’re outrageous.
LG Drawing
The Book of Gabrielle is a lot about sex but with hardly any sex scenes. I am in a quandary about sex scenes. I’m not sure I like them but that makes me want to explore them. It’s such a sensitive, intimate thing to portray and it’s been done so terribly often by ridiculous men whose imagery I have to wash out from my head so I don’t take it to bed with me.

Alongside asking myself, who is my inner man, when I made this film, I was thinking about what a cinema is and also what watching a film is. Making a film is finite. You come to the final edit and you have to let it go. There’s something satisfying in that too. You can move on. But what if the film is made not in such a strict three-act-structure, narrative way? What if, like The Book of Gabrielle feature film, it’s a film that asks questions too, doesn’t tell you what to think.

I have a brain, a mind, a lifestyle even, that is hybrid and fluid. For most of my life so far, I’ve been told this isn’t right. You have to choose…but no, I think we are all more than just one path. We have our other lives that we sometimes dream of, yearn for, and I wanted to make a project that allowed me to do that. I draw, I perform, I make film. So I wanted a project that would let the ideas come and come out from various platforms.

I think the feature film is the kind of heavy rock at the centre of the piece. It’s a luscious grand thing. I can’t change it. The only people that can change it now are the audience who come to it and read their own lives and ideas into it.

LG TBOG

 

BEACH RATS – The Origin

 

Writer / Director Eliza Hittman talks about the original ideas behind her award winning film BEACH RATS.

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BEACH RATS

When Eliza Hittman’s debut feature, IT FELT LIKE LOVE, premiered at the 2013 Sundance Film Festival, it was hailed as a refreshingly unsentimental, original and visually poetic portrait of a teenage girl’s sexual coming-of-age. Hittman was lauded as a filmmaker to watch, and the accolades continued as IT FELT LIKE LOVE played additional festivals and went into theatrical release in 2014. Richard Brody of The New Yorker named it one of the 20 best films of 2014 and wrote “Even as the movie delves deep into the characters’ complex emotional lives, it subtly and gradually—yet ineluctably—conjures a world that I was sorry to leave. I didn’t want the movie to end.”

Hittman knew she would be expected to tell another female-centered story with her second feature, but she wanted to challenge industry assumptions and herself as a filmmaker. She wanted to continue to plumb the outer and inner lives of young people, but chose a different focus. “I grew up in a family where all conversations around sexuality were taboo. I watched someone be brutalized because of their sexuality, but I’ve been barred from writing about my family specifically. My firsthand experiences with homophobia haunt my youth and inspired me to tell a story about a character wrestling with sexuality. I wanted to take on something that was very masculine, and explore the intense pressures on young men to live traditionally masculine lives in an environment with no clear alternative, role model or way out.” BEACH RATS began production on July 25, 2016, and shot for 25 days in different parts of Brooklyn, Queens and Staten Island.

In considering a setting for the story, she was drawn back to the South Brooklyn working-class neighborhoods of IT FELT LIKE LOVE. A native of Flatbush, Brooklyn, Hittman came to know the borough’s coastal communities through high school friends who lived in places like Manhattan Beach. “I’ve always been a little bit fascinated with those neighborhoods and I’d spend a lot of the summer just flopping around those beaches,” she says. “It’s a part of Brooklyn that feels caught between past and present. Those areas have a history of violence of all kinds–crimes against people of color and gay men, and organized crime–and, unlike other parts of the City, change has come very slowly.

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Harris Dickinson plays Frankie in BEACH RATS

 

Her image of the main character in BEACH RATS came from a Facebook image she’d found while researching wardrobe and set design for IT FELT LIKE LOVE. “It was a guy standing at a mirror holding his phone, with a big flash from the camera,” she says. “He had his shirt off and this hat on, and the visor was sort of masking his eyes. It looked like he was about to pull down his gym shorts and take a picture of his dick. There was this tension between hyper-masculine and homoerotic that the picture so clearly illustrated.”

At the same time, Hittman also became interested in Internet-related violence in the LGBTQ community, violence that has had a significant presence in these outer reaches of the City as a microcosm of events that happen throughout the world. The horrifying nature and similarities within stories where dating sites are used to lure people into sexual encounters that end with robbery, beatings, and even death. Hittman says “it’s a very dark subject, one that I know will have a divergent response as it’s a difficult topic that continually recurs.”

From there, Hittman started building out the world of Frankie, a 19-year-old facing an aimless summer at an uncertain moment in his life. His father is in the last stages of cancer, dying in hospice care in the family living room. Frankie spends his days killing time, getting high and hanging out with three delinquent fellow beach rats. At home, he squirrels himself away in the basement, where he can flirt with older men online without anyone knowing. But when a self-assured, sexy local girl named Simone makes a play for him on a Friday night at Luna Park, he awkwardly goes along with it.

 

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Eliza Hittman writer / director of BEACH RATS

 

The Boys are Back for Christmas

The second BOYS ON FILM of 2017 is arriving a touch later than usual, but presents the perfect antidote to Christmas viewing, either on DVD or in high definition On Demand. As you know BOYS ON FILM is the world’s most successful short film anthology series, now with it’s seventeenth edition aptly titled LOVE IS THE DRUG. Here’s a run down of the nine films in this collection along with links to interviews that their directors did with Gay Star News.

ALEX AND THE HANDYMAN

Dir. Nicholas Colia (USA) 14 mins

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When Alex, a precious nine-year-old boy, develops a crush on Jared, the moody twenty-five-year-old handyman who works in the mansion where he lives, he will stop at nothing to get his attention.

Read the interview with director Nicolas Colia HERE

NICHOLAS COLIA is a Brooklyn-based filmmaker who recently graduated from NYU Graduate Film School. Alex and the Handyman is his graduation film, it screened at Palm Springs International ShortFest and Outfest and has since won numerous awards. He is currently finishing work on a new short, a TV series and a feature film.

 

MR SUGAR DADDY

Dir. Dawid Ullgren (Sweden) 13 mins

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Fifty-something Hans is looking for a fresh start. When he is pursued by the handsome younger Andrej, he falls for him fast. As the pair get closer, his wallet becomes looser. Is Andrej interested in Hans, or just the perks of an older man?

Read the interview with director Dawid Ullgren HERE

Dawid Ullgren studies directing at the Stockholm Academy of Dramatic Arts.  Dawid has previously directed the award-winning shorts Karma is a Bitch (2014) and Love at 03:56 (2013). Dawid also works as a casting assistant in Sweden, and holds a diploma in screenplay writing from Alma Writer College.

 

SPOILERS (Iris)

Dir. Brendon McDonall (UK, Australia) 22 mins

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Leon’s loved and lost. Scarred by his experiences, his life takes a turn for the better when he meets the ideal man. Life seems full of possibility again, but what if he knew the ending before it even began?

Read the interview with director  Brendon McDonall HERE

Brendon is a director, screenwriter and actor. His short film, All God’s Creatures, won numerous awards, including Best Film and Best Director at the 2014 Sydney Mardi Gras Film Festival and the prestigious international Iris Prize in 2014.

Brendon won the AFTRS/Foxtel Award for Exceptional Talent and was Associate Director to Ian Watson on the ABC series Janet King.  His previous short films include The Law, Midnight Blue, All God’s Creatures and The Dam.

 

TELLIN’ DAD

Dir. André D Chambers (UK) 15 mins

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A year into his relationship, Dan finally agrees to come out to his family. He writes letters to all of them. As each arrives, he deals with the aftermath, until there’s only one left… Starring Ricky Tomlinson (The Royle Family)

Read the interview with writer / producer Carl Loughlin HERE

André D Chambers studied Digital Film Making at the SAE Institute in Liverpool. His previous short films include Trip, a silent film about homelessness in Liverpool, and Thomas which screened at multiple film festivals around the world. Andre is currently working on short film Nam set in the Vietnam War.

 

BOYS

Dir. Eyal Resh (USA) 14 mins

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Set on the first day of summer, Brian sleeps over at Jake’s house, as they have done countless times before. This night however, the two encounter unfamiliar desires that illuminate a new side of themselves.

Read the interview with director Eyal Resh HERE

Eyal Resh was born in Haifa, Israel in 1988. After graduating from the film department at Thelma Yellin High School of the Arts in Tel Aviv, he went on to do the Film Directing MFA Program at California Institute of the Arts (CalArts). His films were chosen to be part of the CalArts prestigious show case and are now playing in festivals all over the world. Today, Eyal is focusing on narrative story telling using live action film making, animation and photography.

 

HOLE (Iris)

Dir. Martin Edralin (Canada) 15 mins

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A daring portrait of a disabled man yearning for intimacy in a world that would rather ignore him.

The interview with director Martin Edralin will appear later.

Martin Edralin is a Toronto-based filmmaker and producer. Welcome to La Hesperia, shot in Ecuador, was his first documentary short. It was followed by several other award-winning short films, including Sara & JimThe Tragedy of Henry J. Bellini and Jane. Hole won numerous awards around the world and has screened at over 100 international film festivals, including Toronto and Sundance. He is currently developing two feature film projects.

 

HAPPY AND GAY

Dir. Lorelei Pepi (USA) 10 mins

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A queer revisionist history of 1930’s black and white cartoons, Happy and Gay is a musical cartoon inspired by the power of representation.

Read the interview with director Lorelei Pepi  HERE

Lorelei Pepi is an American award-winning animation artist whose work engages with issues of identity and representation, the sexual body, gender and LGBT issues. Using animation‘s various forms, her materials and treatments range from the highly experimental to the character-driven narrative, lyrical and personal (Grace), to the socio-political  queer cartoon (Happy & Gay). She teaches Animation at Emily Carr University of Art & Design in Vancouver, Canada.

 

PEDRO

Dir. André Santos and Marco Leão (Portugal) 24 mins

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When Pedro gets home at dawn exhausted, he is dragged to the beach by his loving mother. Initially reluctant, his interest is peaked when he catches the eye of a handsome stranger by the water.

Read the interview with directors Andre Santos and Marco Leao HERE

André Santos and Marco Leão started their long-lasting collaboration in 2008. Since then, they co-directed Our necessity for comfort, Wild Horses, Infinite, and the award-winning Bad Blood. André also works as a cinematographer, and Marco as a sound operator.

 

KISS ME SOFTLY

Dir. Anthony Schatteman (Belgium) 16 mins

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An unexpected kiss from a friend brings a shaft of light to 17-year-old Jasper’s dull existence. It provides the spark he needs to embrace who he is, but how can he persuade his self-involved father to do the same?

The interview with director Anthony Schatteman will appear later.

Anthony studied film directing and holds a Master’s degree in Film Studies and Visual Culture from the University of Antwerp. KISS ME SOFTLY, his graduation film, was based on his relationship with his father and won him the 2012 Humo award at Leuven International Short Film Festival. Anthony’s work regularly explores difficult LGBT themes and is filmed in his own distinctive visual style.

 

Special Features for BOYS ON FILM 17: LOVE IS THE DRUG

Director’s Introduction for Spoilers

The Making of Kiss Me Softly

Trailers for Alex and the Handyman, Hole and Happy & Gay

 

The Levelling – Making a Trailer

THE LEVELLING – making the trailer

Mike Tang

A trailer is about 90 seconds.  Sounds easy right?  Nope.

Trailers are hard – which is why we hand the work off to our super-talented editor Claire!  (Joking aside, we here at Peccadillo do have some input…)  So, to take you into the magic of what goes on here, this is a quick rundown on how we do it and some of the thoughts that go into it.

Watch the film
It always starts with the film.  We watch it, watch it again and then again.

This lets us decide on the direction we want to take it in terms of marketing.  Is there anything there we’d like to highlight and show off in a trailer?  Lines of dialogue, scenes, getting the tone and emotion spot on.  We’re trying to set the appropriate tone and feel that will show the film off at its best.

Editing, editing, still editing…
Then we call in our editor, Claire.  (Fans of lesbian film and culture, you really have to take a look at her work.)

We give her our take on the film and she can add her input.  Claire stitches together the scenes and music that puts our vision into 90 seconds.  It’s not a quick process and we may work through several versions before we’re happy.

For THE LEVELLING, the film’s a stunning drama powered by the towering performances of Ellie Kendrick (Game of Thrones) and David Troughton (The Archers).  We wanted to highlight that.  The mood, the beauty of the film, the interplay and inherent drama between Ellie and David’s characters, the feelings we had when we first watched the film.

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In the edit suite to finalise the trailer.

Finishing touches
We add in some strong review quotes for the film.  Why?  Well, we think our films are pretty good and so we’re going to shout about it.

Next is the sound.  It’s here that we sometimes work with a sound studio.  For THE LEVELLING, the wizards at Tamborine have been working their magic.  They work on effects, the dialogue, the music – anything that you can hear, they can work on and improve.  It’s about creating the mood to match the video, to fit the mood and direction that we want.

We took a trip to Tamborine’s studio to review their work and the difference it makes is incredible.  As any cinephile will tell you, sound adds a huge dimension of atmosphere to images on screen.

Harder than it looks
Did you notice a theme?  One word: we.  It’s a team effort, both from technical and creative standpoints.

The trailer for THE LEVELLING is out now.  Hopefully, you’ll have an insight into what we were thinking when it came to putting it together.

In the meantime, keep up with news on THE LEVELLING on Facebook and Twitter.

Blimey, this was a bit long-winded
Just wait till I write about how we do posters.

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Ellie Kendrick

Our Top 10 Bestselling DVDs of 2016 & Interview with Tom

What a dramatic year 2016 was for films,  dramatic in other  ways too, but we’re going to focus on the films. To get an industry insider’s perspective we’re bringing you an exclusive interview with our MD Tom Abell to get his take on a wonderful year of films and the changes affecting our industry.

But first; to celebrate a bumper year at Peccadillo Pictures we’re taking you on a tour of our top 10 bestselling DVDs of the year. We searched the world to bring you the most thought-provoking, entertaining and captivating films possible. Whether they were hidden gems like GIRLS LOST or global behemoths like EMBRACE OF THE SERPENT, each DVD is etched with our passion, love and care. Enjoy.

Peccadillo Top Ten DVDs of 2016

10 THEO & HUGO

The steamy French romance that was ‘too sexy’ for most cinemas, careened into tenth place despite being one of our last releases of the
year.

09 CLOSET MONSTER

A beautiful 21st century “coming of age” tale complete with teenage angst, a thumping electronica score and an Isabella Rossellini-voiced Hamster.

08 The GIRL KING

Our captivating drama based on the scandalous life of Queen Kristina of Sweden, and her “royal bed-warmer” Countess Ebba Sparre.

07 CHEMSEX

A brave and unflinching journey into the hidden world of modern, urban gay life. Told through the eyes of ‘slammers’, survivors and the health workers fighting to protect them.

06 BOYS ON FILM 14: WORLDS COLLIDE

Once again the powerhouse that is Boys on Film has been a top seller this year, worlds collide in more ways than one in this stunning collection of award winning short films.

05 BOYS ON FILM 15: TIME & TIED

A sensation as always, the latest Boys on Film collection is our hottest to date. Between a time traveling closet, a 1976 trouser bar and a “zombie infested” sauna, it will have you re-examining your concept of time, age and the ties that bind us.

04 HOLDING THE MAN

The powerful true life story of a forbidden high school romance that was to last a lifetime. Holding the Man will have your heart plunging and soaring. Australian gay cinema has never been so strong.

03 DEPARTURE

An intimate film about love, loss and moving on that charts the beginning of the end of a mother’s marriage, the coming of age of her sexually confused son and an awakening that will make or break their new, unfamiliar family. Juliet Stevenson soars in this beautiful British drama set against the stunning backdrop of southern France.

02 THE GERMAN DOCTOR

A lonely 12-year-old girl unknowingly becomes friends with one of the world’s most terrifying Nazi war criminals in this dark, intense thriller. Based on true events, THE GERMAN DOCTOR will have your skin crawling and heart pumping all the way up to it’s dramatic, final minutes. This “Mesmerising and haunting” Argentinian film was a huge success across the board, particularly in stores.

01 EMBRACE OF THE SERPENT

Karamakate, a warrior shaman and last of his tribe, transcends the worlds of men and seeks truth through their dreams. Based on the diaries of Theodor Koch Grunberg and Richard Evans Schultes, the only known accounts of many Amazonian cultures, this extraordinary “Oscar nominated” film was destined for our top spot.

 

So, which ones have you seen? Which titles do you need to see? Get in touch with us on Facebook or Twitter and let us know!

 

We’re immensely proud of our top 10, and the contribution Peccadillo Pictures has brought to the film world. Our Managing Director Tom Abell, he’s been in the business a “long time” and knows it inside out. Tom’s taken some time out of his very busy schedule to give us a quick interview about the past year at Peccadillo Pictures, the changing face of Film Distribution and our biggest hit of 2016.

 

Did you have any idea how successful EMBRACE OF THE SERPENT was going to be?

 

TOM: We thought it was going to be successful, we knew that it would do well but no, its actual success was far greater than we expected. It was a wonderful surprise that the audience in the UK and Ireland took to the film as passionately as we had.

 

You’re passionate about finding new ways of getting films out there, what has been your most exciting distribution project?

 

TOM: Well, our most amazing campaign was for cinema release of EMBRACE OF THE SERPENT – most definitely. Every aspect of our promotion and marketing of the film worked perfectly in every single area. I can honestly say that in hindsight there isn’t one single thing that we would change, and it’s not often you can say that.

 

I think it’s the best campaigns we’ve ever done and we won the Screen Award specifically for that campaign. Getting that recognition from the industry itself was one of the highlights of last year.

 

Are there any films that you think were unsung heroes of 2016?

 

TOM: GIRLS LOST. It’s a very special film with lots of important social and sexual commentary, but at no point is it overbearing or preachy. Every country in the world has had problems marketing it, because it’s difficult to define a single audience for it – do you target a gay audience, a lesbian or trans audience or do you market it as a Disney film with a dark side?

 

It took us a long time, but I do think we got the tone spot on. Unfortunately, it hasn’t yet translated into sales, despite great acclaim from critics like Mark Kermode. It’s a little gem that many people still have to discover.

 

Peccadillo Pictures will be seventeen years old this year, how has the industry changed in that time and what have been the most dramatic shifts?

 

TOM: It’s changed enormously, the biggest change has been the move from 35mm to digital for projection in cinemas, and whilst it was supposed to make things more diverse it’s done the opposite. It’s made it much harder for smaller films to get into cinemas and now allows most of the cinemas to play the same films, which is not just pointless its tragic.

 

Obviously some screens do offer a more diverse selection of films and we applaud those cinemas who are still supporting non-Hollywood films.

 

How has VOD (Video On Demand) changed the way you distribute home entertainment?

 

TOM: While our VOD side is growing considerably year on year, it hasn’t yet replaced the revenue we were getting from DVDs. While we’re maybe not making as much money from it as we were in the good old days of DVD It is growing well and I’m quite confident that our success with VOD will continue to grow. For example we’re one of a handful of film distribution companies who have their own own page on iTunes, we have our own Peccadillo Player which is powered by Vimeo and every quarter our VOD sales on Amazon are increasing considerably, so the VOD side is really moving upwards for us.

 

Thank you for taking the time to read our blog, you can also keep up with the incredible adventures of the winking black cat on our Facebook and Twitter pages. Check back regularly for exciting new updates, exclusive content and information on our upcoming films before anyone else.

What are little boys made of..?

If you’re blind to what is different, this story is not for you. But if your eyes are open, you should listen carefully

Every so often a film comes along where it is incredibly difficult to find the right tone. With GIRLS LOST we have been through countless design concepts and have really discussed, argued and fought over how it should look, how the synopsis should read, how to present this to the audience and even who that audience should be.

We’ve never had it like this on a single title before. But I have to say that after months of changing minds, designs and words we’ve finally cracked it, literally the day of release!

It’s an amazing film, in fact one for all the family! Read more below…

Kim (as a girl) and Momo (as a girl) from GIRLS LOST

Kim (as a boy) and love interest Tony from GIRLS LOST

“Girls Lost is maturely executed, offering a discussion that presents us with ideas that cannot be considered in haste, the post-contemplation of the film necessary.” HeyUGuys

Here’s the synopsis follow link

You can find out where and how to watch GIRLS LOST : http://www.girlslostfilm.com/

POUTfest 2016 Is Here!

Next week is going to be an exciting and busy time for the Peccadillo team. We will be celebrating the launch of POUT Fest 2016 with Holding the Man at Picturehouse Central on May 18th so come on down and join us for some excitement.

Following on from the fantastic success of POUT 2015, we are bringing you all an opportunity to experience another POUT with all new titles and events ready to take up your calendar.  POUT Fest 2016 aims to promote LGBT cinema with a variety of short films and feature length films that can inspire, move and emancipate the audience. To know more, read on at your leisure.

Departure1 TGK

Holding the Man perfectly encapsulates what POUT Fest 2016 aims to achieve; it’s daring, entertaining, touching and makes one proud to be who they are. POUT Fest 2016 will also see the launch of The Girl King, a historical film that covers the reign of the first native, female sovereign of Sweden as she is thrust into an all-male court that has no tolerance for her awakening sexuality. Enchanting visuals and intrigue map the film throughout. Girls Lost is another fantastic addition to the line-up. The hypnotic film follows three girls who discover a curious plant that has a rare magical ability; transforming the three girls into boys. As their genders change, so does the world around them leaving their responses to this change profound. We are also honoured to be showing the classic film, My Beautiful Laundrette, starring Academy Award winner Daniel Day-Lewis and Gordon Warnecke. The film is a classic example of identity and inexorable love. For some laughter and fun we also have the cult film Codependent Lesbian Space Alien Seeks Same gracing the POUT screens with its witty and humorous tale of romantic emotions. For all you documentary lovers we have the privilege of showing Limited Partnership, which tells the inspiring story of the first same-sex couple in the world to be legally married; taking on the US government in court to prove the legitimacy of their affection for one another.

GIRLS CLOSET

On May 20th Peccadillo will also be celebrating the release of Departure, a British drama starring the talents of Juliet Stevenson (Bend it like Beckham and Truly, Madly, Deeply) and Alex Lawther (The Imitation Game). The stunning debut from Andrew Steggall confronts the issues of family, first love and the dawning of one’s sexuality. With impressive visuals and an incredible cast, this is one film that will arouse the senses of the audience and anyone who has dealt with the issues presented. Get on down to the cinema to show your support for this years’ most incredible debut!

For more on POUT visit poutfest.co.uk

Road Movies and Feel Good Journeys

As you may have read, our film Xenia was released on Monday and we thought it would be a good idea to explore the Road Movie genre and dust off some great iconic films that have paved the way for upcoming features.

The Road Movie genre came about at the birth of American cinema with a reflection on American youth culture. Notable films such as EASY RIDER and THELMA & LOUSIE have become the ultimate road movie films, which can be said to have inspired other filmmakers in different countries to use this genre and juxtapose it with other important issues of the time.

The films usually consist of one or more characters leaving their mundane day-to-day lives and journeying into uncharted territories, usually for self-discovery purposes, escaping something, or setting up a new life. There is a sense of freedom in the act, enveloping the human spirit into a state of self-reflection and embracing their own identities.

Although faced with hardships and often unfamiliarity, the films poise moments of feel-good that derive from the freedom the characters experience once they have left everything behind and fear is just a dark cloud in their rearview mirror.

XENIA is a modern day Odyssey, bringing the lost Greek traditions of ‘hospitality’ back to the forefront of Greek culture. The two boys journey through a hyper-real Greece in search for their father who abandoned them 13 years ago. Interwoven with surreal sequences, entering the sub-cultural movement called Greek Weird Wave.

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We look back at some of our releases around the road movie genre and some of our favourite classics.

Yossi – Directed by Eytan Fox. A film that perhaps shows you that the longest trip might just be within yourself.

Yossi

 

Give Me Your Hand – Directed by Pascal-Alex Vincent. If you thought twins didn’t have any secrets, get comfortable on your backseat because these two 18 year old brothers on their way to their mother’s funeral in Spain, will go on a journey that will change their lives forever.

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The Adventures of Priscilla – Directed by Stephen Elliot. The film that drew attention to Australian cinema and the Aussie LGBT community. If that wasn’t a long shot for the early 90’s, then getting on the Priscilla tour bus with two drag queens and a transgender woman definitely was.

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The Golden Dream – Directed by Diego Quemada-Diez, brings a different kind of journey. This time, the road it’s about a group of Mexican teenage boys trying to make it through the U.S. border and the challenges they face.

 

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Transamerica – Directed by Duncan Tucker. Felicity Huffman is brilliant at playing a transgender woman who reconnects with her son and promises to take him to L.A. As her son discovers that she’s actually his father, she will find in him the strength to overcome her fears and finally be completely free in her own skin.

transamerica

 

Drôle de Félix – Directed by Olivier Ducastel and Jacques Martineau. This was Peccadillo Pictures’ first release and it is possibly the most similar film to Xenia – story wise. If you enjoyed Felix’s journey to find his father, you will definitely appreciate the journey of two brothers looking for their father as their relive old forgotten memories of their childhood.

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and you all know how we like to save the best for last…

Thelma & Louise – Directed by Ridley Scott. Do we really need to say anything? Outstanding performances from Susan Sarandon and Geena Davis in a film about self-discovery and women empowerment in a highway filled with phallic symbols.

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So… if you didn’t know about this sub-genre, we do invite you to check it out. Road movies will most likely end up making your weekends better with their Feel Good vibe and the strong characters behind the steering wheel.