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While the film has a few hiccups, the package as a whole comes across as a truly moving experience that challenges the audience's morals with really thought-provoking dialogue. Along with Jasmine Batchelor's phenomenal performance, 'The Surrogate' is an important film that everyone should check out. - Chris dos Santos Read Chris' full article... https://www.maketheswitch.com.au/article/review-the-surrogate-raising-heavy-yet-important-questions
This movie put me in mind of a popular saying coined by Evelyn Beatrice Hall but widely misattributed to Voltaire: “I disapprove of what you say, but I will defend to the death your right to say it.” The problem, however, is not whether I agreed or disagreed with what the protagonist, Jess, has to say; the problem is that, if I were to defend what she says to the death, I’d be liable to find out, right as I’m about to shuffle off my mortal coil, that she just flip-flopped on me. Jess talks the talk – and she certainly talks a good game –, but when push comes to shove, she doesn’t walk the walk. That is, she talks business but doesn’t mean business, and when it’s time to put her money where her mouth is, she totally flakes out. So not only did I disagree with Jess, but found her, as a character, disagreeable because she doesn’t have convictions so much as she has opinions – or, to be more exact, she always has one and the same opinion, and that opinion is whatever stands in opposition to what everybody else thinks. In one word, Jess is a contrarian, and her agenda doesn’t revolve about doing what’s right but about proving the others wrong. That’s too bad because the movie touches on some very polarizing issues but ultimately lacks the courage to take a definite stance, and the cop-out ending takes what could have been a thought-provoking film and turns it into self-indulging, self-righteous fence riding.
Two closeted actors en route to an awards show argue in a chauffeured limo about how important it is to appear straight.
Greg and Alessandro are in the bedroom, looking at one another. The feeling of guilt and nostalgia of that moment may forever mark their lives, but it's only a gateway to allow love to walk freely amongst them. They look at one another. They feel one another. They love one another. Regardless of the unrevealed pictures or the unwritten songs.
Leni takes Rafi to meet her family in Madrid. Leni's family is Jewish - mother, father, older sister and daughter, brother, and grandfather. Rafi is Palestinian, in Spain since age 12. Before her father returns from work, Leni reveals Rafi's origins. He accidentally drops a block of frozen soup out the flat window, probably killing a passerby. Leni initiates a cover-up and Rafi figures out the body is probably Leni's father. The body disappears and without telling the rest of the family what they know, Leni and Rafi organize a search for dad. Mom is sure he's having an affair. Leni's belly-dancing sister kisses Rafi. Her brother grabs a rifle to shoot the Arab. Can anything be put right?
Manu, a trans immigrant, must return to her native Chile after 10 years in France. In the days leading up to her departure, Manu’s platonic friend Daniel proposes marriage with the intention of solving her visa issues. Manu strongly considers the offer, but she’s wholly disheartened at the prospect of a life without love, romance, and sex—that is, until she meets a fellow foreigner who instills in her the hope for a romantic future.
Mélanie Prouvost, a ten-year-old butcher's daughter, is a gifted pianist. That is why she and her parents decide that she sit for the Conservatory entrance exam. Although Mélanie is very likely to be admitted, she unfortunately gets distracted by the president of the jury's offhand attitude and she fails. Ten years later, Mélanie becomes her page turner, waiting patiently for her revenge.
Best friends Deco and Naldinho co-own a cargo boat in Brazil's Salvador da Bahia. They give a ride to a sultry prostitute named Karinna, and soon both men fall prey to her considerable sexual charms, pushing the bounds of their friendship to the limit.
Arnold is a gay man working as a drag queen in 1971 NYC. He meets a handsome bisexual man.
Three loosely related stories about love, loneliness and desire, held together by one central event (a train accident) that sets these characters in motion. Andrew Lin Hoi is a mainland tour guide who’s stranded in China when the accident happens. He was supposed to pick up his visiting girlfriend Gigi Lai, but instead he gets stuck in a hotel where a Category 3 film is being filmed. There he strikes up a quick connection with the leading lady, who offers him a role in a graphic love scene with her. Meanwhile, Gigi has arrived in HK only to find herself alone with no one to turn to. Depressed and despondent, she takes comfort in the attentions of a lonely older man played by Patrick Tse Yin. The third and most interesting affair occurs between taxi driver Ben Ng and mainland hustler Wong Hei. The two hook up outside the train station and fight and fume in between steamy couplings.
Yong-ju, Gi-woong and Gi-taek used to be best friends in middle school, but in high school, Gi-woong becomes a member of the gang that bullies Gi-taek. As Yong-ju tries to fix this broken relationship, he realizes his special feeling toward Gi-woong.
Regulars gather at The Blue Jay, a gay bar in Manhattan's Greenwich Village, to celebrate Christmas Eve 1971 with people they consider family.