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Pain & Glory may be Almódovar’s most resplendent and moving film, a panorama of vibrant paint-box colors and even more intense emotions-and a hymn to the mysterious whatever-it-is that keeps any of us going, in the years, months or days before our bodies betray us. Gay Mean Girls is queer coming of age dramedy about how relationships shift as we redefine ourselves. But an anniversary screening of one of his older films sets off a chain of events that shifts everything: A lost love reappears as if conjured from a dream, and other bits of his past-particularly recollections of his mother, played as a young woman by a radiant Penelope Cruz-reassemble into a joyous, haunting interior monologue that demands to be explored visually, through his art. Worse yet, his suffering is so intense that he may not care instead of life after death, he’s settling for death before death, a premature leave-taking that’s a betrayal not just of his gifts, but of the time on earth any of us are given. In Pedro Almódovar’s Pain & Glory, Antonio Banderas gives the performance of a lifetime as 60-ish filmmaker Salvador Mallo-a stand-in, more or less, for Almódovar himself-who’s in so much physical pain that he’s uncertain whether he’ll ever work again. One of them even says they created the “Midnight Kiss” game so “We wouldn’t be incestuous anymore.” It’s a group of friends who arguably knows each other too well.In any life, there’s only so much time to do all we want and need to do. And there’s something funny about a slasher film in which pretty much everyone has had sex with one another. These scenes have more character resonance than we usually get from “Into the Dark,” especially lately, as a lot of them are based on gimmick more than character. As often happens when old friends get together, some personality conflicts arise, hidden resentments simmer to the surface, and there are some interesting discussions about modern gay culture in general (using apps to hook-ups vs.
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Most of “Midnight Kiss” is actually a gay life crisis dramedy. The murders are vicious, but they’re relatively infrequent for the slasher genre, and our main protagonists don’t even know there’s a threat until after the hour mark. Moments like this, or another in which a champagne bottle is literally shoved down someone’s throat, clearly reach for a camp quotient that’s too often lacking from the rest of the film. Before the group has even reunited fully, one of them has been murdered in his shower, watching his masked killer throw glitter on him as he bleeds to death. The film technically opens in 2013 during a NYE bash, so we know something happened related to the kiss that night, which will surface as 2019 turns to 2020.Īnd surface with a vengeance. The group used to play a game called “Midnight Kiss,” wherein each member tried to find someone new and special on New Year’s Eve for that magical kind of kiss we only see in the movies. They reunite with some news-one of them is engaged, for example-but also bring a bit of baggage to the desert retreat they’re going to use as a home base for holiday revelry. Of course, the holiday du jour for film #16 is New Year’s Eve, which has brought together a group of gay friends and their one straight female friend (which the official synopsis refers to as a “fruit fly,” teaching me my final new slang for 2019).