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By Alan Ng | July 14, 2020 I was such a boring teenager in the 80s. At the behest of my friends, I never went to night clubs nor got involved in designer drugs (i.e., MDMA and Ecstacy). After watching Joseph F. Alexandre’s Sex, Drugs, Design: Warriors of the Discotheque, I couldn’t help but wonder what the hell I was doing with my life with all this studying for college and staying clean and sober. Sex, Drugs, Design: Warriors of the Discotheque is about the infamous Starck Club in Dallas, TX. I’ll admit that I had never heard of the club, but Alexandre does a good job convincing you this was THE place to be if you wanted to be ANYBODY. It seems pleading the case for the importance of The Starck Club is the sole purpose of the documentary. Sex, Drugs, Design: Warriors of the Discotheque is nicely organized into several chapters about the club and 80s culture—not necessarily in a logical order. It first makes the case that Dallas was this up-and-coming cosmopolitan city that would soon outshine New York and Paris. Those who lived there were emphatic that Dallas was nothing like the Dallas depicted in TV’s Dallas. The Starck Club opened on May 12, 1984, with a performance by investor Stevie Nicks. Membership was expensive and limited. You could only get in if you were a member, on the guest list, or incredibly hot. The club set the standard for the no standard long-line/impress-the-doorman system of club entry. It was a trendsetter in music, fashion, and 80s culture. Is this the birthplace of the “shoulder pads?” The club’s architect and designer was Philippe Starck. The club served as a mini-showroom for Starck’s design ideas as Dallas experts described his work as modern surrealist and minimalism with sensuality. Director Alexandre uses old photos and computer renderings to give us the look-and-feel at that time. The upper floor was a quiet place to socialize, drink, and be intimate with your date or complete strangers. Couches and tables were separated by drapes creating indoor cabanas if you will. Downstairs was the dance floor with an enormous “H”-shaped monument as the centerpiece. The most exciting part of the doc was what happened in the club. While it was not known as a gay nightclub, a large contingent of gay males frequented and influenced the overall experience of the club. With MDMA/Ecstasy in ample supply, one’s sexuality was explored and unleashed. Everyone wanted to get in—the desperate offered sexual favors for entry. Celebrities passed through the front door, including the son of President George H.W. Bush…yes, I’m talking about “W.” The Starck Club was primarily a dance club, and that means music. Experts in the hottest dance/techno beats, the club’s staff DJs could skillfully read and manipulated a room, and they did just that. One story recounts Prince demanding his music be played, only to have the DJ scratch his record and chuck it across the room. Back to the drugs, the Feds and DEA would get word of the illegal distribution of Ecstacy and sent multiple undercover agents to collect evidence. Everyone knew a raid was imminent, but no one cared. When its all said and done, Sex, Drugs, Design: Warriors of the Discotheque is a historical documentary and was made by those who were fortunate enough to have experienced The Starck Club and reminisce about their time. Here’s some perspective. This doc is the story of a single building in the middle of the largest city in the enormous state of Texas. The memory of The Starck Club could have quickly vanished into the ether, if not for Alexandre’s film. Put together almost thirty years after the club closed with no original footage of the club to shoot, director Alexandre is left only with former investors, employees, and patrons who are still alive and mostly sober. The only archival footage comes from old photos, film footage, and VHS tapes. With what little he had, Alexandre was able to piece together a complete story about this legendary nightclub. If there is one unforced error in the doc, it’s the nightclub dance beat that plays unceasingly from start to finish. It gets annoying throughout the film. It’s perfect as the soundtrack for the old dance floor footage, but not over the talking heads. The setting and composition of the interviews could also have been improved visually. Documentaries today are much more sophisticated, and the most mundane locations need to look appealing and professional. Ultimately, the depictions and history in Sex, Drugs, Design: Warriors of the Discotheque shows The Starck Club was not only a fascinating historic building, but the stories that took place from within are equally captivating. For more, visit the official site for Sex, Drugs, Design: Warriors of the Discotheque. BACK SEX, DRUGS, DESIGN: WARRIORS OF THE DISCOTHEQUE (2019) Directed and Written: Joseph F. Alexandre Starring: Philippe Starck, etc. MOVIE SCORE: 7.5/10 Sex, Drugs, Design: Warriors of the Discotheque Image "…memories of The Starck Club could have quickly vanished into the ether, if not for Alexandre’s film."
Private Diary documents photographer Pedro Usabiaga working with a variety of amateur models. The audience sees how the relationships between the photographer and the subjects changes during their time together, as well as how the individual photographs begin to take shape. Pedro Usabiaga is a well-established Basque photographer whose chief concerns are figurative photography and whose passion in photographing the Spanish male. In this hour long conversation with the artist we are given entry into that process of selecting models (none of the models he uses for this book to be titled 'Private Diary' are professional, but instead are randomly chosen as Usabiaga observes athletes in action) and then allowed to follow Usabiaga and his crew as they photograph these men in natural settings and natural light.
“Last Men Standing,” the first feature-length documentary from The San Francisco Chronicle, Northern California’s largest newspaper was selected for entry into a series of prestigious LGBT festivals being held in the U.S. and Canada this spring. One of the few newspapers to write, direct and produce a feature-length documentary, this film follows the lives and experiences of eight long-term AIDS survivors.
A documentary about the marginalisation of the LGBTQIA+ cultural and artistic scene in Salvador.
Based on family interviews and records of his trajectory, the director André Medeiros Martins performs an analysis of his mother's life history while documenting his own journey through self-knowledge. André is an artist obsessed with sex and who tries to find the reasons for these obsessions in stories about his late mother. From the exhibition of his works and reports from family members, he creates this auto-fictional documentary.
Examines the diversity of human sexual and gender variance around the globe, with commentary by scientific experts and first-hand accounts of people who do not conform to a simple male/female binary.
A short documentary which, starting from the experience of its five protagonists, takes us inside the team which presents itself not only as a tool for access to sport, but also as a political means for the entire transgender community to claim its identity and all rights denied.
Erik had to leave Jehovah's Witnesses after coming out as homosexual, now he is going to celebrate christmas for the first time.
Filmed over five years in Kansas City, this documentary follows four transgender kids – beginning at ages 4, 7, 12, and 15 – as they redefine “coming of age.” These kids and their families show us the intimate realities of how gender is re-shaping the family next door in a unique and unprecedented chronicle of growing up transgender in the heartland.
The life story of Charlotte von Mahlsdorf, who survived the Nazi reign as a trans woman and helped start the German gay liberation movement. Documentary with some dramatized scenes. Two actors play the young and middle aged Charlotte and she plays herself in the later years.
Games with muscles, games with power, SM games. The naked body employed as a prop. Perceptions of one's own body are the focus of Body-building, and it leaves the good-girl role far behind, sometimes in striking poses, sometimes in martial dress.
“I Beg You To Like Me”, serves as a testimony of individuals who felt oppressed about their body image for not meeting the standard beauty criteria, and demonstrates how a reckless language based on others’ physical appearance could turn violent. It aims to achieve much more than simply stating the obvious, which is that we are not obligated to submit to the ideal beauty standards dictated by the media, consumerism and the beauty industry. The intimate stories about one’s own body image as told by women, men, disabled people and LGBT individuals make it apparent that any one of us could end up being a victim and a perpetrator at the same time. What if, this iconic body image is nothing but an unobtainable fallacy? “Is it not yet the time to openly discuss the conventional perception of beauty, and step up onto the catwalk in our actual likeness?
