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Alternative “family” structures have been around for some time now, and they’ve assumed a variety of forms, both domestically and overseas, as well as in their essential composition. And, in a number of cases, it has taken some trial and error to figure out what works best for these diverse groupings, depending on the various factors that characterize the individuals involved. Such is the case in this profile of a multi-ethnic, mostly LGBTQ+ household in Skopje, North Macedonia that struggles to find a harmonious footing when stricken by a tragedy involving a family matriarch (Alina Serban). Those left behind (Anamaria Marinca, Vladimir Tintor, Samson Selim) must figure out how to regroup, particularly when it comes to the care of a belligerent adolescent (Mia Mustafa) and her sweet, young, surprisingly worldly half-sister (Dzada Selim). It’s especially challenging for those in charge, given that they’re not terribly experienced at (nor overly interested in) the responsibility for such matters. They truly find themselves engaged in a crash course of “housekeeping for beginners,” one that finds them with one foot each in the middle class world of Skopje and in the impoverished world of nearby Shutka, an enclave of Roma (a.k.a. “Gypsy”) culture. Writer-director Goran Stolevski’s third feature outing provides an intriguing look at life in locales that have not received much cinematic attention, depicted through the eyes of an eclectic mix of characters living lives far different from what one typically finds in most conventional households. This domestic comedy-drama gets off to a somewhat rocky start, mainly due to a failure in identifying the nature of the relationships among the principals, and a narrative that can be rather episodic at times, with resolutions to its multiple story threads that feel incomplete or end abruptly (most notably in the final act). Viewers probably would have benefitted from some additional information about the ethnic backgrounds of the characters, too, given that many viewers are likely unfamiliar with the cultures involved. However, once the picture starts settling down and finding its rhythm, this release definitely gets stronger and more involving as it progresses, touching audiences profoundly, given that the situations that arise are often universal in nature, no matter what structure a family unit takes. “Housekeeping for Beginners” definitely has its strengths and touching moments; it’s a little disappointing, though, that there aren’t more of them. Greater clarification and consistency in the storytelling would have done this offering a world of good in its depiction of a world otherwise seldom seen.
A woman’s lover and her ex-boyfriend take justice into their own hands after she becomes the victim of a rapist. Because some acts can’t be undone. Because man is an animal. Because the desire for vengeance is a natural impulse. Because most crimes remain unpunished.
In present-day Texas, Maya and her on again, off again girlfriend Jules total their car after a night of backwoods raving and teen mischief. They're rescued from the wreckage by Freddy, an oil worker whose stoic facade crumbles as he comes to see himself, and his repressed desires, in Maya. As Jules recovers, Maya and Freddy develop a rapport that dulls the debilitating silence of their small-town lives. Together, they subtly encourage one another to chase after what they want the most (or at least figure out what that might be).
Romain, in his thirties, has just been dumped by his boyfriend. Lonely and romantic, he tries a dating app and will make two surprising encounters in a two-star hotel.
In an abandoned warehouse, a crowd is dancing as one on 145 BPM techno music. Among them is Dustin, a young transgender woman and crew: Felix, Raya and Juan. As the night draws on, collective hysteria morphs into sweet melancholy, and euphoria into yearning for tenderness.
Some people seem really sure of themselves, or full of good intentions, or even radiate joy of life. But you have to see behind the mask, see the pain and suffering, know if it is necessary to help these people and not let yourself be perverted by bad decisions or destructive desires.
The heterosexual man Axel is thrown out of his girlfriends home for cheating and ends up moving in with a gay man. Axel learns the advantages of living with gay men even though they are attracted to him and when his girlfriend wants him back he must make a tough decision.
In 1965 - the eve of decriminalization for acts of male homosexuality in the U.K. - Matthews, a young gay man at odds with the world, discovers love, sex, and a new family in the backstreets and underground bars of Soho.
80-year-old retiree Arthur lives in a modest council home in Vienna. For quite some time he has lovingly been caring for his seriously ill wife Martha, with only female nurses assisting him. As he finds Fabiu, the new male Hungarian care worker, on his doorstep, his routine is broken. But soon the two men become closer and inside Arthur feelings of desire and suppressed longing start to rise.
Marcus King, an old school gangster, a crime lord, has left behind old school crime. He has manoeuvred his business into the leafy lanes of the suburbs and now, in place of pimps and dealers, his team consists of the best graduate geeks that money can bribe. No brothels, no casinos and no drugs - he's dragged serious, organised crime well and truly into the twenty-first century. From credit card cloning and skimming to Internet spamming and scamming, he is the king of Cyber Land.
Miklós is at the age when everything feels high-stakes. He is coming to terms with his own sexuality, and when his best friend Dan reveals that he has a new girlfriend, this puts an end to their plans to run away together.