Gary M. Kramer

2 weeks ago | gaycitynews.com | Gary M. Kramer

The charming romcom, “A Nice Indian Boy,” directed by Roshan Sethi and adapted from Madhuri Shekar’s popular play, has Naveen (Karan Soni) being pressured by his extended family to get married. But Naveen, who is gay (and out), is reluctant to have his boyfriends — not that he currently has one — meet his traditional (but accepting) family. That all changes when he has a meet cute with Jay (Jonathan Groff), a photographer who was adopted by Indian parents.

2 weeks ago | gaycitynews.com | Gary M. Kramer

The 1971 underground feature, “Pink Narcissus” — one of the horniest films ever made — is now getting a re-release in a spanking new 4K print. Shot in 8- and 16-millimeter (and blown up), this highly stylized, 65-minute, wordless film is a provocative, florid fantasy that remains as titillating today as it was on its initial (and unsuccessful) release. The film still casts a spell more than 50 years after it was made.

3 weeks ago | gaycitynews.com | Gary M. Kramer

Lisa Cholodenko’s 1998 feature debut, “High Art” is a seductive tale about Syd (Radha Mitchell), an assistant editor at “Frame” magazine, developing a professional and personal relationship with a once-famous photographer, Lucy (Ally Sheedy). Now being re-released in a glorious 4K print, this film looks fabulous; it deserves to be seen (or re-seen) on the big screen. Cholodenko’s film is a queer classic.

3 weeks ago | salon.com | Gary M. Kramer

There are few comedians who polarized audiences like Andy Kaufman. His style of deadpan humor was deliberately designed to make people uncomfortable—and he achieved that with long, pregnant silences or performance art sketches that bordered on anti-humor, such as inviting audience members on stage to touch his cyst. But back in the late 1970s, Kaufman was unbelievably popular.

4 weeks ago | gaycitynews.com | Gary M. Kramer

There is a mesmeric quality to “Viet and Nam,” writer/director Trương Minh Quý’s ambitious queer romance about two young miners in Vietnam circa 2001. The film’s images, courtesy of Son Doan, are extraordinary. Long, wordless shots of a shirtless man lying on a bed of leaves or a wooded area during a heavy rain are gorgeous. Likewise, several scenes of the title characters cuddling together in the depth of the mines or working side by side in a rhythmic fashion are entrancing.