The Trevor Project

Brent Gorski wrote and starred in the new movie Holding Trevor, a lovely flick for all of us who've ever been (or ever will be) gay twentysomethings in search of answers

By Jonathan Riggs

FRONTIERS: What inspired you to write the movie?

BRENT GORSKI: My own philosophy about relationships: You really have to get to know yourself before you can figure out what you want out of life and love.

The film has some pretty dark themes: drug addiction, illness, loneliness, death. What attracts you to that kind of story?

I'm not entirely sure… DNA, maybe? I have a very eclectic taste when it comes to watching movies, but when it comes to writing, I do tend to live in a little bit of a heavier emotional place—probably because I was always the theater kid who used to write journals full of poetry.

Even with all the heaviness, the characters find strength in humor and friendship. How does that reflect your generation?

I think we might be a little more in tune with our feelings than some previous generations. Maybe with that revelation of self comes the ability to look outside the personal and sometimes see the bigger picture … and the ability to laugh at it.

How fun were your sexy scenes with the gorgeous Eli Kranski?

It was during a heat wave, and being under the covers and on top of someone was the last thing anyone would have wanted! [Laughs] We were both such allies in this discomfort that it brought about that intense sense of camaraderie almost instantly. So, in the end, it was neither fun nor embarrassing—sweaty is probably more accurate.

HIV is a theme many gay movies explore, but the way you handled it was very respectful yet unexpected. [SPOILER ALERT: Trevor's straight female friend becomes HIV-positive.]

I'm very big on avoiding stereotypes, and, as a writer, you hope to achieve a certain level of originality in your story. I thought it was important to capture another truth to this disease, a female perspective. The actress, Melissa Searing, handled the storyline with more truth and sincerity than I could have ever imagined. She's flawless.

Your character has a great line at the end of the film.

He says, "Moving forward doesn't always mean leaving something behind." He finally realizes that you can pick up your roots and plant them somewhere new, but in the end you've still got your roots.

This was obviously a labor of love.

An independent film like Holding Trevor is not about a big paycheck for anyone—it's about heart and artistry. If you've ever been in your mid-20s, or someday expect to be in your mid-20s; if you've ever tried to find yourself or the strength to take risks, then you might find a little bit of yourself in Holding Trevor.

ON SCREEN

Until I Forget

Starring Jacques Nolot, Marc Rioufol, Bastien d'Asnières
NR, 108 mins, STRAND Releasing
****

It's the end of the road for Pierre/Jacques, a character created by French writer/director/actor Jacques Nolot and depicted at various life stages in a half-dozen films (cinephiles—think him a queer Antoine Doinel). Once a teen hustler kept comfy by wealthy benefactors, Pierre is alone, on the brink of destitute, HIV-positive, and pushing 60. After immersing us in his mundane daily routine, via an extended, numbing opening sequence—don't lose patience yet!—Nolot unspools a fabulous series of acerbic dialogues and punchy encounters with brilliantly drawn characters: friends from both past and present, former and new hustlers, and a delivery guy he receives more than just groceries from. Nolot, playing Pierre with a beyond dry deadpan, drains humor from unlikely, awkward, even poignant situations (Pierre is reluctant to take HIV meds, yet his health now requires them), and wields sometimes a David Lynchian touch—the final image would fit snugly somewhere between Wild at Heart and Inland Empire. —LAWRENCE FERBER

Gonzo: The Life and Work of Dr. Hunter S. Thompson

Hunter S. Thompson, Jimmy Carter
R, 118 minutes, Magnolia Pictures
***

All the annoying self-styled “rebel” journalists of the past several decades think they're the spiritual children of Hunter S. Thompson. But they're not. Only Thompson was Thompson. And that's because Thompson was high most of the time. He was also made of a weird, vintage anger-coated steel that gave him the nerve to report on the 1972 presidential race with a furious scorn the moment deserved. This documentary doesn't skimp on the drugs that fueled Terry Gilliam's Fear and Loathing in Las Vegas, yet it doesn't just light there. It remembers (via interviews with Pat Buchanan, George McGovern and Jimmy Carter) Thompson as the kind of political journalist we need more of today, one that could toss off lines like “How low do you have to stoop in this country to be President?” and not be relegated to the fringe. —DAVE WHITE

LIMITED RUN

Weekend

Jean-Luc Godard's comic tale of an anarchic road trip filled with cannibalism and kidnapping plays for two nights. AFI's Silver Theatre. Wed., July 2 (7 p.m.) and Thurs., July 3 (9:20 p.m.) $9.75. www.afi.com.

Cabaret

Leather, lederhosen, lechery, and Liza. What better way to spend Independence Day? Nuart Theatre. Fri., July 4. Midnight. $9.50. 310/473-8530.

Night of the Iguana

The film version of Tennessee Williams' sexually charged tale returns to the big screen. The Silent Movie Theatre. Sat., July 12. 7:15 p.m. $10. www.silentmovietheatre.com.

The Houseboy

Find out how Ricky handles life when he realizes the couple he's maintained a threesome with for a year plans on dumping him, but expect him to keep up his houseboy responsibilities. Directors Guild of America. Mon., July 14. 10:15 p.m. $12. 213/480-7065. www.outfest.org.

Homo Must

Citizen Nawi

This documentary embeds viewers in the Israeli-Palestinian conflict while bringing it home through the tumultuous personal life of West Bank gay activist Ezra Nawi. Regency Fairfax Theatre. Thurs., July 10. 7:15 p.m. $12. 213/480-7065. www.outfest.org.

ON DVD

Bonneville

Jessica Lange, Kathy Bates, and Joan Allen
***

Combine a triumvirate of Class “A” actresses and one tried-and-true plot recycled from the school of Louise and Thelma, and you’ve got Bonneville. Here, three friends trek through the American west (stops include predictable places of grandeur and great contemplation like Utah’s salt flats, the Grand Canyon and, of course, Las Vegas) to deliver the ashes of Lange’s recently deceased husband to his children in Santa Barbara so he can be buried next to the grave of his first wife. Replete with handsome, chivalrous men, beautiful landscapes, and spells of razor sharp wit, Bonneville is a reliable, 90-minute ride sure to please the gays. Of course, you’re in good company, too, and the fine acting is what keeps this flick afloat as they wax on about what death and final wishes mean to them. Don’t expect too much from the extras. The gag-reel is literally about two minutes long and offers but a brief respite from the sometimes-heavy proceedings that will likely leave the Kleenex piling up at your feet. —WALLY KING

Penelope

Christina Ricci, James McAvoy, and Catherine O’Hara
***

The disarmingly charming Penelope boasts a top-notch cast and an important message about loving yourself just as you are. Many a gay will likely relate to its message, but the film seems tailored more for the tween set than for us. Ricci, as the title character, is likable and relatable despite a pig’s snout that plagues her because of a centuries-old transgression by a long-dead relative and a servant girl whose mother just happened to be a witch. The only way our heroine can break the curse is if she can find true love and learn to love herself just as she is. Reminiscent of Edward Scissorhands—its cinematography is gorgeous—Penelope is part fairy tale, part allegory, part personal empowerment mantra and, all-in-all, a sweet DVD date if you’re in the mood for a bit of whimsy. Far from a fairy tale, however, are the disc’s extras—or rather, singular extra—a behind-the-scenes making-of that has all involved touting the film’s “important” premise and girl-power message. —WK