THE VOICE OF CHICAGO'S GAY, LESBIAN, BI, TRANS AND QUEER COMMUNITY SINCE 1985

The festival, second-oldest in the country (after San Francisco), is going to screen an amazing array of more than 97 entries from 16 countries. This year's crop of films will be shown at Chicago Filmmakers, Landmark Century Cinema and the Music Box.

See www.reelingfilmfestival.org for complete schedule and event details.

The festival kicks off with a 7:30 p.m. screening at the Music Box Theatre of D.E.B.S., which is described as a 'funny, sexy, girl-power spy spoof,' a first feature from Angela Robinson (and a full-length version of the film she screened at last year's fest). The film was not available for screenings but rumor has it that terrific audience response to the movie is pointing toward a theatrical release. The opening night gala reception in the Music Box Theatre's ornate lobby begins at 6:30 p.m. and is hosted by Pink Pages, with hors d'oeuvres from La Donna Italian Cuisine and Thai Classics Restaurant. An after-screening party will be held at Izzo/Jones Arena + Studio for the Arts at 1806 W. Cuyler.

A closing night party Nov. 11 is at Hydrate nightclub beginning at 10:30. $25 gets you into the 9 p.m. screening at Landmark Century, entrance to the party and complimentary drinks and hors d'oeuvres.

Dorian Blues ** 1/2

Tennyson Bardwell's sweet gay memoir doesn't break any new ground in telling a familiar story but it maintains your interest and sympathy all the way.

Michael McMillian is your guide through five years in the life of Dorian Lagatos. He's the perfect protagonist, sharing Dorian's highs, lows and 'gift for melancholy' without becoming whiny or grating. Semi-cute in a Topher Grace-ish way, he's practically the whole movie and not a bad guy to spend 88 minutes with.

The key relationships in the film are Dorian's adversarial one with his father (Steven Charles Fletcher) and a more positive one with Nicky (Lea Coco), his macho younger brother. Nicky's the first one Dorian comes out to when he realizes, as a high school senior, that he's gay. Nicky responds by being understanding and protective.

The usual bases are covered: a therapist followed by a priest; trying to go straight followed by self-acceptance; high school followed by college; first lust, first love, first heartbreak; all the things most of us went through, with minor variations.

Bardwell's gentle style provides chuckles instead of belly laughs and lumps in the throat rather than tears. Dorian may have the blues but fuschia is really his color.

Naked Fame ** 1/2

'Wealthy pornstar' is an oxymoron. A few manage to supplement their income through websites, personal appearances and other ventures, but you'd be surprised to know how many have more day jobs than blowjobs.

This is the most revealing aspect of Naked Fame, Christopher K. Long and Patrick McManamee's verité documentary about Colton Ford and his efforts to launch a recording career at 39.

Colton (a.k.a. Glenn) and his partner, Blake Harper (a.k.a. Peter), have given up drugs and want to quit porn as well. Peter has a career as an RN to fall back on; Glenn has musical ambitions.

He hooks up with Kyle Neven, another former pornstar, who writes a song with him and producer Scott Anderson. A record gets cut, which surprisingly we never hear in its entirety. It goes nowhere and Glenn and Kyle have a falling-out.

Peter comes across as far more likable than Glenn, whose excessive self-confidence appears unjustified.

Although we get a look at Colton's claim to fame in the opening scene the porn elements thereafter are confined to montages of video covers.

Naked Fame isn't for the usual voyeurs, although it is a voyeuristic experience, in the sense that 'reality TV' is voyeuristic.

Nine Lives ***

Nine Lives is a dramatic buffet with far more breadth than depth. Considering how much is covered it rarely seems shallow.

Michael Kearns' play Complications was adapted by Kearns and director Dean Howell, each of whom plays one of nine characters who tell their stories in illustrated monologues. They're connected in La Ronde fashion by each character having sweaty and energetic sex with the next.

Kearns plays Ronnie, who lost his first lover in Vietnam and two others to AIDS. Carlos (Eric Turic) works as a pool boy for Corey (Steve Callahan) and Daniel (Nick Salamone), both of whom are fucking him.

Bo (John Ganun), a hustler Daniel meets at the gym, gives a freebie to Mikey (Dennis Christopher), a drug dealer who cares for his developmentally challenged brother.

Mikey delivers drugs to James (Howell), who tells his story, which involves 9/11, to a 12-Step group. At the baths James encounters Ralph (William Christian), a down low brother whose wife, Lisa (Debra Wilson) is pregnant.

Most of the nine lives have been touched by HIV but this isn't a total AIDS film. Each character brings new sociopolitical issues to the table, resulting in a very full table, a hearty meal.

The Road to Love (Tarik el Hob) ***

How many not-yet-out gays have explored our mysterious world by writing term papers for Sociology about homosexuality? That was my story and it's the story of Karim (Karim Tarek), an Algerian living in Paris. He's doing his term paper on video and trying to find gays from the Mahgreb (Morocco, Algeria and Tunisia) who are willing to talk.

He finds several who are willing to do more than talk and he's soon fighting them off like one of my wet dreams. A friendship develops with one of these men, Farid (Riyad Echahi), who questions whether Karim, who lives with a girlfriend, is really straight. Eventually they go to Marrakesh together to find out.

There might be more suspense if there weren't more sensuality in the scenes between Karim and his subjects, most of whom try to seduce him, than those with his girlfriend, who seems more like a sister. But if you want suspense, watch an old Hitchcock movie.

In addition to sex and romance this video feature by Remi Lange reveals some interesting nuggets about the role of homosexuality in some North African/Middle Eastern cultures, including places where men married (or still marry) each other prior to marrying women.

Round Trip ** 1/2

An Israeli melodrama with a lesbian love story, Round Trip stars Anat Waxman as Nurit, a bus driver who lives with her slacker husband Yossi (Eyal Rozales) and their children, sullen teenager Hila (Reut Kahlon) and her brother, preadolescent Zohar (Ido Port), in a small town in Northern Israel.

Tired of being both housewife and breadwinner and receiving no appreciation, Nurit 'take(s) time off from' Yossi, taking the children to Tel Aviv. She needs a nanny and, after rudely slamming the door in the first black face that applies (in a scene that's very much out of character), brings back the woman, Mushidi (Nathati Moshesh), and hires her.

Everyone quickly warms to Mushidi, who has a son back in Nigeria and is working multiple jobs to be reunited with him. Once everybody's friendly intimacy is the next step. Nurit goes clubbing and beachng with Mushidi. When it's established that neither has had sex with a man for a long time Mushidi boldly kisses Nurit.

A little pleasantness is followed by a lot of unpleasantness. In the end we know Nurit has become her own woman but whether that woman will continue to love other women remains to be seen.

Director Shahar Rozen does a decent job with the actors, though there's nothing anyone can do to mitigate the mood swings the script calls for.

Slutty Summer ** 1/2

Here's the East Coast Chapter of the The Broken Hearts Club in a breezy romantic dramedy.

Markus (Casper Andreas) catches his long-term partner cheating and, unable to finish his novel, takes a summer job waiting tables where his best friend, Marilyn (Virginia Bryan) works.

The waitstaff includes Luke (Jesse Archer), a flamboyant party boy; inexperienced Peter (Jeffery Todd), who is saving himself for a serious relationship; and brooding Tyler (Jamie Hatchett), who gets plenty of sex but doesn't 'do relationships.' Four fags and a hag—consider the possibilities.

Markus and Tyler hook up quickly, becoming more than fuck buddies but less than boyfriends. Peter and Marilyn search the Internet for love and Luke has the sluttiest summer of all.

Besides playing the lead—a bland, passive character that doesn't require a lot of acting —Andreas wrote, directed and edited Slutty Summer. If director of photography Jon Fordham deserves credit for the film's look, Andreas had the good sense to hire him and assembled his footage nicely.

There's enough intelligent dialogue mixed with the gay banter to raise Slutty Summer above the category its title suggests, while some softcore sexual montages should stave off accusations of false advertising.

Testosterone **

Like an airplane that taxis for hours but never leaves the ground, Testosterone teases us with potential for mystery and comedy while resembling nothing so much as a lead condom. Director David Moreton (Edge of Seventeen) gives us an unlikable protagonist, obsessive romantic Dean Seagrave (David Sutcliffe), who draws graphic novels. He was recently left without explanation by Argentinian Pablo Alessandro (Antonio Sabato Jr., nearing his sell-by date as a model).

Needing closure, Dean flies to Buenos Aires in search of Pablo and acts like an action hero when he's not being depressed and depressing. Pablo's mother (Sonia Braga) calls the police and hires thugs to keep Dean away.

He finds two potential allies who turn out to be brother and sister with their own connections to Pablo. Sofia (Celina Font) is a waitress. Marcos (Leonardo Brzezicki) was Pablo's lover when they were boys and seems to want to take Pablo's place in Dean's life.

The sexual tension between Dean and Marcos is the film's long suit but it's jettisoned in favor of Dean buying a machete to kill Pablo. Testosterone never becomes credible enough to engage our interest, let alone complicity.

Jennifer Coolidge adds welcome humor as Dean's agent.

200 American ** 1/2

Partly inspired by Pretty Woman, 200 American is a gay romance that walks a fine line between surprising and just disorganized.

Making an audience change horses in mid-stream has tripped up filmmakers far more experienced than writer-director-producer Richard LeMay. He gradually shifts focus from Conrad Billings (Matt Walton), who seems a bit young to own a New York ad agency, to Ian (Sean Matic), an Australian hustler Conrad hires, sort of falls for, then gets over.

The shift is almost welcome because Ian is the more sympathetic (and attractive) character. The title refers to his price, which goes up to $1000 for a whole night. After one night Conrad hires him at the agency, with twice-a-week sex in the bargain.

At work Conrad's forever locking horns with his art director, Michael (Anthony Ames). Ian looks like something else they can fight over. Michael is unattached but Ian is engaged to marry Sarah (Gail Herendeen) and Conrad is still hung up on his last boyfriend, Martin (John-Dylan Howard), who dumped him for being 'too controlling.'

More of a lite drama than a comedy, though not without humor, 200 American gets a bit too soapy and talky as things are worked out.

Garden ***

It's hard to believe Garden is a documentary. Filmmakers Ruthie Shatz and Adi Barash had enviable access to two Tel Aviv hustlers, Palestinian Nino and Israeli Dudu, for a year.

These unlikely friends, who spend most of their time together quarreling, work a district called 'The Garden' when Nino's not in prison or the reformatory. He escapes (it's amazing that the police can't find him but the filmmakers can) and Dudu considers turning him in 'for his own good.'

Their young lives are filled with more drama than a soap opera or a narrative film of equal length. Both sometimes deal drugs. Dudu is a heavy user but is so protective toward Nino he has the makings of a Jewish mother. In return Nino tries to make Dudu give up heroin.

A client rents an apartment for Nino, who basically tells him to fuck off but gives as much as he has to to get as much as he can.

The filmmakers have done a brilliant job of editing the material, stopping short of suggesting the solution to the conflict in the Mideast is for everyone to become a hustler, because under that umbrella Arabs and Jews can get along.

Mango Kiss **

Mango Kiss has an appealing female couple at its center and is beautifully photographed but it strains so hard for a plot it gives itself a hernia. Role-playing and play-acting get mixed up in performance art that's all about performance and nothing to do with art.

Best friends Lou (Michelle Wolff) and Sassafras (Daniele Ferraro) have just moved to San Francisco and Sassy has just come out. They're obviously made for each other but it can't be that simple in the movies.

They become lovers and negotiate a degree of openness that gives Sassy room to explore, although her mother (Sally Kirkland) speaks against it from experience.

Lou and Sassy are surrounded by a textbook assortment of lesbian types, some of whom one or the other gets involved with, arousing her partner's intense jealousy. They're supposed to be performance artists and their dialogue scenes come across as 'bits' rather than conversations.

Director of photography John Pirozzi makes Mango Kiss one of the best-photographed low-budget queer films ever.

'This is a cautionary tale,' Lou says at the outset. That's the truth. Mango Kiss shows how many things can go wrong with a lesbian film that has a lot going for it.

Poster Boy ***

A surprisingly good political fantasy, Zak Tucker's Poster Boy will unfortunately be relevant for the foreseeable future. As it builds to an event six months earlier you'll have some idea of what's coming, but the specifics make for a real stand up and cheer moment.

Henry Kray (Matt Newton) is the son of 'compassionate conservative' North Carolina Sen. Jack Kray (Michael Lerner), who doesn't know he's gay. Henry stays under the radar at a low-profile college where his father's about to give a campaign speech.

At a party the night before Henry meets Anthony (Jack Noseworthy), a local activist, and they have a blue light special (you'll see what I mean) in the gym. Anthony's roommate, Izzy (Valerie Geffner) contracted HIV from her now-dead boyfriend.

The first half of Poster Boy is somewhat flaccid but when it springs to life, look out!

The turning point may be when the senator's wife (Karen Allen), a dutiful companion to this point, reveals her dark side to Izzy: 'Bein' a bitch is highly underrated.'

The writers create some excellent dialogue, though it's not all at the same high level. Despite its inconsistency Poster Boy's peaks are so high I recommend it without reservation.