Saw this last night and it’s far ana away the best picture of the year so far. Based on his actually 9 year relationship with a crack addicted book editor it’s a tale of co-dependency and difficulty of letting go. Though drugs figure prominently in the plot it’s love story, and consequently relatable on any number of levels. Nver seent he two leads before. Thure Lindhardt plays Erik — a documentary filmmaker. his overall boho-homo looks suggests trouble but he’s the solid one. Zachary Booth plays his lover Paul, who looks like a buttoned-down smart go-getter, but is a raging crackhead with no sense of personal responsibility whatsoever. I’ve known guys precisely like this. Looks are deceiving. Such types manage to “get away with it” for long periods of time, and this story shows how. In and out of “rehab,” years and years of broken promises. The lot. In the most amazing scne Paul (more bombed than ever) asks Erik to hold his had as a hustler plows him. It’s sordid and deeply touching at the same time. As gay love stories go this is right up there with Parting Glances, Weekend and Those Who Love Me Can Take the Train
I wrote the above tow months ago. “Keep te Lights” on opened in limited release last week. Has no one else on MUBI seen it?
I can only conclude that the straghts who dominate MUBI would rather swallow poison than see a gay movie.
I don´t think so, last year´s “Weekend” has been very popular among us straight mubi people. I´m very much looking forward to this one, sadly I missed a festival screening of it a few months ago, but it´s still one of my most anticipated 2012 films.
It’s not to be missed. What’s fascinating is that it covers a ten year period yet doesn’t seem to leave anything important out. “Weekend” was about the blossoming of a love affair. “Keep the Lights On” is about how an affair runs its course.
Saw a positive review on Slant when they reviewed it months ago, so I put it on my calendar.
And of course they’re showing it tomorrow at MoMI with Sachs in person…
The film’s website lists dates starting this Friday, 9/7
Angelika NY New York New York 9/7/12
Elinor Bunin Film Center New York New York 9/7/12
Playhouse 7 Pasadena California 9/7/12
Sundance Cinema Sunset 5 Los Angeles California 9/7/12
Chelsea New York New York 9/7/12
Landmark Theatre SF San Francisco California 9/14/12
Landmark Theatre Berkeley Berkeley California 9/14/12
Palme D’Or Palm Desert California 9/21/12
Ritz at the Bourse Philadelphia Pennsylvania 9/21/12
West End Washington, D.C. District of Columbia 9/21/12
Angelika Mosaic Fairfax Virginia 9/21/12
The Neon Dayton Ohio 9/30/12
Wexner Center for the Arts Columbus Ohio 10/5/12
TIFF Bell Lightbox Toronto Canada/Ontario 10/12/12
Tivoli Theater Downers Grove Illinois 10/12/12
Ken Cinema San Diego California 10/12/12
Kendall Square Cambridge Massachusetts 10/12/12
Landmark Theatre Minneapolis Minneapolis Minnesota 10/26/12
Midtown Art Atlanta Georgia 10/26/12
Music Box Theatre Chicago Illinois 10/26/12
Landmark Theatre Denver Denver Colorado 10/26/12
Because if people haven’t seen a relatively little-known film that comes out this Friday in limited release, they’re obviously hate-mongering bigots, right? I really hope that comment was a joke.
Regardless, I just found out about the film yesterday through a friend, and I’ll see it whenever I get the chance. It seems pretty interesting.
“I really hope that comment was a joke.”
I never joke.
Sounds like a quote to me, your “I never joke.”
No dates in Houston…as always >:(
He never quotes.
Blame the distributor. They have exactly five prints of the film and three are going to NYC.
I’m a fan of Sachs’ The Delta and Forty Shades of Blue, so I’m certainly looking forward to his latest. Thanks for this, David.
You’re welcome. Ira’s a great guy.
Here’s a great short film he made not long ago.
Andrew O’Hehir agrees with you David.
Somehow missed this thread, but I saw the film last June and it’s one of my favorites of 2012 so far.
It’s my VERY favorite so far — closely followed by Haneke’s “Amour.”
I saw this at Sundance, not knowing that it was the actual flip side of the Bill Clegg memoir, and at first wondered why no one had mentioned the film was an adaptation and why "Portrait… " wasn’t mentioned in the credits. It’s an interesting phenomenon to have had the story told from two different POV of an ex-couple when both are still living. I don’t think it’s the absolute best picture of the year, but I appreciated that the film showed a protagonist who had the strength to walk away from someone not ready to get help, and that it didn’t degenerate into one “aren’t drugs awful?” exploitative scene after another with no redemption, like “Requiem For a Dream.”
Right. And that’s because it’s about co-dependency. The question that hangs over the entire film is would he have fallen in love with him if he weren’t an addict.
I posted something and then thought better of it, and decided to remove it. Sorry. “nm” = never mind.
Well post something else.
Well, okay. I was surprised at how uninvolving I found the film when I saw it yesterday. There just wasn’t much there for me at all, I’m afraid. Certainly well made and acted, but I never really felt more than a polite interest.
“There just wasn’t much there for me at all, I’m afraid.
Am I to take it that you’re straight?
No, I’m a gay man. And there still wasn’t much there for me at all, I’m afraid.