Words by Tom Abell, Peccadillo Pictures Director

The one thing that is certain with working at Peccadillo Pictures is that you never really know what’s going to happen from one week to the next. My schedule can be planned very nicely and then something happens that kicks everything that’s been planned into the next week – or beyond.

On Tuesday morning Ashley Joiner, the director of our film ARE YOU PROUD? called me to say that the FX network in the USA (owned by Disney) had apparently plagiarised the artwork that we had created for his film to promote their new TV documentary series PRIDE. I was somewhat stunned, then I found that Amelia from our social media department had already picked up on the outraged tweets that were being shared on Twitter about the design of those two posters.

When I eventually saw the FX poster I was astonished at the similarity. Their documentary series PRIDE appears to cover the very same subject as Ashley’s film ARE YOU PROUD? but from an American perspective. Apparently, the same theme (obviously I haven’t seen the doc yet), with American subjects rather than British ones. But the poster, they seem to have copied what we had done with the design and layout right down to using a badge with their logo to mimic what we had done with the Peccadillo logo in our original design.

Posters creation like this is a collaborative process and it takes time, thought and imagination to produce something as strong and iconic as the key art for ARE YOU PROUD?

Our designer for the project was Kit Mason, over the years he has produced some very fine posters for our films. My original brief to him was to use protest leaflets and news headlines as a kind of collage to reflect the themes of the film. He pulled together an interesting number of items, but within them were a set of protest badges. Some of which I even remembered owning way back in the last century – in fact they are probably sitting in a box in our storage.

But those few badges were the spark of the idea for the poster, we knew that the Bishopsgate Institute had a collection of LGBTQ+ protest badges as did Gays the World Bookshop so I called both and asked if we could come and photograph their collections and have permission to use them for the poster. I vividly remember the trip to Gays the Word as it was pouring with rain, torrential rain. Kit and I walked over from the Peccadillo office in Farringdon and met Ashley along the way, several of the customers inside the bookshop were as wet as we were. But I was so pleased to see the shop busy and full, there were a lot of young people there looking though queer literature showing just how important and relevant a national treasure like Gays The Word is.

Kit then produced the initial concepts using just a few badges copied several times in order to create the layout, UK “quad” cinema posters are big. Once the layout was approved, we set about putting the right badges in place. Both Ashley and Campbell X helped with the selection to ensure we gave the fullest possible representation that we could to the diversity of the LGBTQ+ struggle over the years and incorporate the wealth of humour portrayed in those little works of art.  And I believe that Campbell was right when he said that we had created a truly iconic poster.

And now FX seems to have just “borrowed” it without asking permission or giving any kind of acknowledgement. If they had just contacted us and said that they loved our original concept and wanted to adapt it to promote the TV series, we would have been flattered and would have come to an arrangement for them to use it. It appears to be a sad example of how corporations feel they can just take the creativity of queer people and do what they want with it without any kind of redress. Corporations also love to take the pink pound / dollar but apparently without thought or consideration for the community itself. This kind of appropriation is one of the themes of a very good film, it’s called ARE YOU PROUD?

Watch ARE YOU PROUD? now on PeccadilloPOD Buy DVD: Peccadillo Shop

SEQUIN IN A BLUE ROOM DIRECTOR STATEMENT

When I set out to make this film, I wanted to tell a queer coming of age story, one that truthfully reflected a modern-day experience. A digital coming of age. A world of online instant access and sexual discovery on demand. A world where vastly different experiences of being queer collide within one social app. At its heart, this film is a story of wanting to grow up fast, a story of our fantasies colliding with realities. 

The queer community in Australia, much like the rest of the western world, is experiencing a shift, a generational divide. With the sexual fluidity and liberation of the new generation reflecting the limitations imposed on the generations before it. This unique tension served as a foundation for the film as our protagonist hurdles through the intense complexity of his community in the search for love. Due to the political and social circumstances of the times, a large amount of queer films of the past and present have looked outward. Concerned with presenting an image of the queer experience to the outside world. For this film I wanted to look inward, to examine and question a specific part of our community as it is today. 

I made this film at twenty-five. I grew up as part of the first generation of young queer people to come of age with social media and hook-up app communication. From Googling what it meant to be gay to joining “Gay Teen Chat Rooms” and talking to strangers from around the world. From having to learn about gay sex from internet pornography to meeting my first boyfriend on Myspace. Every part of my coming of age as a queer person has been informed by the internet. The good and the bad. I grew up faster than the teenagers around me in school. An experience I know a lot of queer people share. Our coming of age walks hand in hand with coming out, and for me that meant the forming of my sexual identity as a constant act of transgression. This led me to experiences I wasn’t ready for and situations that put me in danger. 

During the writing process for Sequin In A Blue Room, my co-writer Jory Anast and I met, interviewed and discussed coming of age during this era with other queer people of our generation. It was an incredible feeling to be surrounded by individuals sharing similar experiences. A reoccurring theme amongst us all was this tension between sexual discovery and transgression. A close friend spoke to me of their experiences growing up with hook-up apps saying, “I can’t believe the situations I put myself in. If I told anyone about it they would tell me how dangerous it could have been. But I did it, then I left, didn’t tell anyone and largely pretended it didn’t happen.” These shared experiences, themes and ideas all went into forming a character, a place and a social app that became the building blocks for Sequin In A Blue Room. 

THE DIGITAL WORLD ON SCREEN 

Bringing that digital world to the screen was a real challenge in a film of this scale and budget. Showing digital interaction on screen is something that the industry has been toying with for over a decade now. Early on I knew I want- ed to push this further than I had seen it done before. My cowriter and I al- lowed for the digital world in the screenplay to be as expansive and complex as it is in reality. This meant stepping beyond just text messages on screen and actively using a full app operating system as part of our story world. This included multiple apps, picture sharing, location sharing, blocking, deleting, searching and more. Everything that has become a part of our daily life in reality. We were so fortunate to be able to work with motion graphics artist Chris Johns to bring this all to life on screen. Chris brought an authenticity to the motion graphics design, drawing on his own experiences of being gay in the digital age to create the graphics of an app that felt at once a part of our reality and the story world of the film.

WRITER/DIRECTOR – SAMUEL VAN GRINSVEN 

Looking back at the Peccadillo Pictures releases of 2020

We kicked off 2020 with the re-release of Ismaël Ferroukhi’ LE GRAND VOYAGE. Originally released in 2005 it was a pleasure to see this film return to the big screen. THE CAKEMAKER was up next, the award winning film by Ofir Raul Grazier delicately explored the fine line between grief, faith and sexuality.

When February came around we were in full swing, not only did we have the digital release of Soheil Beiraghi’s powerful drama PERMISSION but we were also preparing for the theatrical release of Lucio Castro’s END OF THE CENTURY. A seductive story about loving in the moment END OF THE CENTURY has cemented its spot as a modern Gay classic. Speaking of classics, Stephen Dunn’s CLOSET MONSTER had a makeover in February. Did you get a copy of the updated DVD cover? 

Who knew that by March the world would be a very different place? We had high hopes for Levan Akin’s critically acclaimed feature debut AND THEN WE DANCED which only saw the big screen for one weekend before the UK & Ireland went into lockdown. All was not lost, however, because we saw huge support in the virtual world (who could have predicted we’d all be going to the cinema virtually?) and the beginning of the Peccadillo Sofa Club.

After taking a short break from film releases in April, May was a month of celebration with Peccadillo Pictures turning 20, although the parties were virtual we definitely felt the love. We felt 20 years called for something very special so we released BOYS ON FILM 20: Heaven Can Wait into the world.

In June we went back to our roots working with French directing duo Ducastel and Martineau on their twisted tale DON’T LOOK DOWN. Did you know that Ducastel and Martineau’s DROLE DE FELIX was the first film Peccadillo Pictures released into cinemas?

Who would have thought that by July we’d still be indoors? We opened the virtual cinema doors once more for Hlynur Pálmason’s award winning A WHITE, WHITE DAY. With a gorgeously spine-chilling score from Edmund Finnis A WHITE, WHITE DAY is a cinematic must see.

Summer came around and we went back to 90s Algeria for Mounia Meddour’s PAPICHA. Based on real life experiences, PAPICHA is an inspiring story of sisterhood and the battle for freedom. They are the rebels with a cause.

By September cinemas across the UK & Ireland began to reopen their doors and we continued on our tour around the world. First stop was Brazil for SOCRATES the astonishing debut feature from director Alexandre Moratto produced by the UNICEF supported Quero Institute. We explored Vietnam next in Hong Khaou’s MONSOON a thoughtful, tender drama that follows Kit (Henry Golding) as he reconnects with his birth country and the unexpected romance he discovers along way.

In October we virtually travelled to Film Festivals across the UK & Ireland showcasing some of our upcoming releases. From London for the London Film Festival, then across to Dublin for GAZE we completed the month in Cardiff for IRIS Prize.

November was set for the release of TWO OF US but unfortunately, another lockdown was ruled closing cinemas across the UK & Ireland – 2021 will see the release of this powerful film.

December had an explosive start with Amazon Video UK banning THE PRINCE from its streaming platform. That didn’t stop us and THE PRINCE became one of our most watched films of 2020. We ended the year in the dreamy Berlin Summer in Leonie Krippendorff’s COCOON a story of first love and sexual awakening.

It’s safe to say 2020 as been a year that we won’t forget.

As Black History Month comes to an end we continue our celebration with more of our favourite films and where you can watch them. This diverse range of films that we have selected are celebrations of love, community and identity in its many forms. Recognising the richness and diversity of black communities all around the world through the medium of film.
Check out part 1 here.

Body Electric (2017)

An erotic tale of identity and sexuality set in modern day Brazil. BODY ELECTRIC, the feature debut by Marcelo Caetano captures the beauty and delicate excitement of sexual awakening, as seen through the intense colour and vibrancy of São Paulo.

Available to rent or buy on Peccadillo Player, Apple TV, Amazon Prime 

Almost Saw the Sunshine (2017)

Rachel (Munroe Bergdorf) is a young aspiring transgender woman. After a series of encounters with a handsome man, she impulsively takes a chance on a one night stand, but where will it go from there?

Available to rent or buy on Peccadillo Player, Apple TV, Amazon Prime 

Beautiful Something (2015)

Inspired by real-life experiences, BEAUTIFUL SOMETHING follows four men during one sublime night, as they comb the Philadelphia streets looking for a connection, they often settle for something quick and easy. However, tonight is much different.

Available to rent or buy on Peccadillo Player, Apple TV, Amazon Prime

Leave It on the Floor (2011)

High flying and low down, LEAVE IT ON THE FLOOR is a one of a kind celebration – a gay African-American musical about finding your true family.

Available to rent or buy on Peccadillo Player, Apple TV, Amazon Prime

White Colour Black

The debut feature film from British Nigerian filmmaker Joseph A. Adesunloye, WHITE COLOUR BLACK at its heart is about self-discovery and rediscovering home.

WHITE COLOUR BLACK will be available in the UK 2021

Part 1

October marks Black History Month in the UK, which was founded to recognise the contributions that people of African and Caribbean backgrounds have made to the UK and worldwide over many generations. To celebrate this, we have compiled a list of some our favourite Black Queer films and where you can find them. This diverse range of films that we have selected are celebrations of love, community and identity in its many forms. Recognising the richness and diversity of black communities all around the world through the medium of film.

Socrates (2019)

This recent release follows 15-year-old Socrates as he tries to come to terms with the sudden death of his mother and being thrown into adulthood. It is a moving portrait about the lengths we go to to survive and the very real hardships many at risk young people face in Brazil’s urban landscape today. It is the debut feature from Brazilian-American director Alexandre Moratto and the first feature to ever be produced by the Quero Institute in Brazil where it was co-written, produced and acted by at-risk teenagers who helped to shape the story and make it feel so authentic.

Available to rent or buy on Peccadillo Player, Apple TV, Amazon Prime and is now available on DVD in the UK

The Watermelon Woman (1996)

Widely considered a classic in LGBTQ+ cinema, in The Watermelon Woman, Cheryl Dunye plays a filmmaker who becomes fascinated by a long ago forgotten black actress known as ‘the watermelon woman’. Alongside her uncovering of this actresses’ history, in her personal life she falls in love with a white woman, Diana, this relationship brings with it new difficulties. Throughout the film, Dunye raises questions of authorship, visibility and film history, with Dunye having to fictionalise a history in film for black lesbian women in order to be visible and create a dialogue with the present.

Available to rent and buy on Peccadillo Player, Apple TV and Amazon Prime

The Wound (2017)

The debut feature from South-African filmmaker John Trengove, this film follows the intertwining story of two closeted men in the context of the Xhosa ritual of Ulwaluko. In this ritual, young men are circumcised and spend the following weeks in a camp healing from their wounds under adult supervision, adults who themselves underwent this same procedure many years before. With this ritual as a backdrop, Trengove explores masculinity within this confined context and the dangers of having to suppress a part of your identity in order to be accepted.

Available to rent and buy on Peccadillo Player, Apple TV, and Amazon Prime

Stud Life (2012)

This film offers a unique look at British urban life from acclaimed director Campbell X. It focuses on the story of JJ, a black lesbian, and her best friend Seb, a white gay ‘pretty boy’. The film follows the pair’s romantic entanglements, as well as their own turbulent friendship. In Stud Life, Campbell X captures a side of Britain rarely seen on screen, representing the British LGBTQ+ community in all its diverse forms with love and understanding.

Available to rent and buy on Peccadillo Player, Apple TV, Amazon Prime and BFI Player

Monsoon (2020)

So much of what we built in the West is contingent on forgetting some of our past traumas.

MONSOON is a rich and poignant exploration of the struggle for identity in a place where the past weighs heavily on the present.⁠ Lewis (Parker Sawyers) an American living in Vietnam comes to terms with his Father’s involvement in the war.
In Cinemas and On Demand Now, Monsoon is available on DVD & Blu-Ray Nov 2nd. MonsoonFilm.co.uk

Explore the Black History Month collection on the Peccadillo Shop here.
Pt2 coming soon.

A Film by Hong Khaou
In Cinemas and Streaming in the UK Now

This week welcomes the release of director Hong Khaou’s second feature film Monsoon, following his critically acclaimed debut feature Lilting. In Monsoon we see Hong Khaou drawing on similar themes to the ones he explored so touchingly in Lilting: cultural displacement, generational divides and a search for identity. Monsoon follows a young British-Vietnamese man Kit (Henry Golding, Crazy Rich Asians, The Gentlemen) as he returns to Vietnam for the first time since his childhood to scatter his parents’ ashes. Along the way he finds unexpected romance with handsome young American Lewis (Parker Sawyers) who has his own complex history with a Vietnam of the past. The two men bond over their shared dislocation in a country which greatly impacted both their identities.

Hong Khaou drew from personal experiences for his inspiration for Monsoon, reflecting on his own experience of having to migrate to Britain at eight years old as a political refugee and his subsequent feeling of cultural displacement from his home countries of Cambodia and Vietnam. Monsoon, therefore strives to capture this transitional state of living that many first and second generation migrants exist within, being both physically and culturally dislocated from a country you remain connected to. A country which inextricably impacts your identity and sense of self despite having very little or no memory of this space. Through Kit, Hong Khaou questions what it must feel like to be treated like a tourist in a place that was once your home.

Hong Khaou has also stated that in Monsoon he wanted to show Vietnam in a new light, working against the invasive American perspective that has dominated the representation of the country in film, ‘Vietnam is always seen as a victim, I wanted to show it as it is.’[1] Therefore, in Monsoon, Khaou focuses on Vietnam as the thriving, bustling metropolis it has evolved into, as well as its’ new generation of young people who are beginning to pull away from their parents’ traditions and ways of living. This new generation is represented by the character Linh (Molly Harris), a young woman who has big ambitions and is reluctant to takeover her parents’ declining Lotus Tea business. She tells Kit that the tea that they produce is outdated and that ‘nobody drinks it anymore’, illustrating how the Vietnam of the past is rapidly changing as is its’ long-standing cultures and traditions. Hong Khaou captures this moment of change in Monsoon, drawing a connecting line from the disappearing Vietnam of the past, the one he grew up in, to the altered Vietnam of the present. Noticing how despite this change, the country’s painful history continues to impact the present across generations and families. Monsoon at its heart is a film about how we look the past to understand the present. We follow Kit as he rediscovers a Vietnam which now feels foreign to him and attempts to find traces of his parents and their past selves through these explorations. Ultimately, Kit’s search for understanding and self-discovery is universal, it is a reflection on how we retrace steps in our history and our family’s history to better understand ourselves.

Monsoon In Cinemas and Streaming Now
www.MonsoonFilm.co.uk

[1] Tara Brady, The Irish Times (2020) https://www.irishtimes.com/culture/film/hong-khaou-vietnam-is-always-seen-as-a-victim-i-wanted-to-show-it-as-it-is-1.4358454.

From the fantastic to the documental

The last few years have brought to the screen genuine Queer stories from authentic voices that seem to really understand what it’s like to grow up Queer – none more so than CLOSET MONSTER, re-released in the UK today four years after its original premiere.

The feature debut of Canadian director Stephen Dunn (GOOD MORNING, Boys on Film 12), shows the strangeness of being a teenager through the surreal story of Oscar, a boy trying to escape his small town to become a special-effects makeup artist, together with Buffy, his talking pet hamster and life coach. After the arrival of a new cool, handsome co-worker, Oscar is forced to face demons from a traumatic childhood memory. Beautiful and haunting – but prepare to cry at Isabella Rossellini narrating Buffy the hamster.

In a more realistic and sombre tone, highly acclaimed TOMBOY (2011) brings an exceptional cast of teenagers on this drama about childhood gender confusion. 10-year old Laurie is mistaken for a boy by the local kids after moving in with her family to a new apartment block. Instead of correcting them, Laurie creates a new identity and starts living a parallel reality from her parents in the afternoons, as all her friends think she is ‘Michael’. French director Céline Sciamma’s unique observational style avoids tropes, bringing a tender summer experience to the screen.

Swimming between fiction and documentary, 52 TUESDAYS (2015) is remarkable in its production. Filmed every Tuesday for 52 consecutive weeks, the film shows Billy, a teenager who just found out her mum will transition and live as a man. Having to move in with her father, Billy holds her Tuesday meetings with her mum as sacred, but a new sexual relationship with two school friends might put that at risk. Director Sophie Hyde leads this cast of non-actors with authenticity to create a truly compelling story of family, transformation and sexual awakening.

Last but not least, COMING OUT (2019) is a gem of a movie. Made entirely of Youtube videos of young people coming out to their families around the world, director Denis Parrot sews an absolutely charming documentary with these life changing moments. The seconds of silence after a mother realizes her son just said he’s gay carries the weight of the world – suddenly we forget ourselves and experience the moment like it’s been screened live from across the globe, holding our breaths as we wait for her reaction. There is an inevitable and quite compelling mise-an-scene from a person caught up in the moment but who still can’t forget they are being filmed, fully aware their reactions will be judged.

The power of these films are irrefutable and any one of us, however we identify under the rainbow umbrella, will be able to see our own adolescent experiences on the screen.

Words by Sofia Wickerhauser