Film gay in primo piano e gratuito: Un chant d'amour (Jean Genet, 1950) Francia

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Ogni settimana presento uno o due film gay completi, di solito qualcosa di difficile da trovare o sconosciuto. Potrebbe essere un cortometraggio, un documentario o un porno artistico! Qualsiasi cosa voglia condividere quella settimana.

Fai una donazione se lo desideri o lascia un commento ovunque e condividerò con te la mia collezione completa gratuitamente. Al momento sono circa 2 TB e crescono ogni giorno.

LO STREAMER GRATUITO DI QUESTA SETTIMANA

Any day is a good day to watch Jean Genet’s first and only film, Un chant d’amour/A Song of Love, a uniquely and sometimes hilariously erotic b&w totally silent short film.

Genet is probably my favorite author (and my spiritual papa), even though he seems to have been mostly forgotten. I don’t see how he could be even be recognized now by any of the current woke cowards and hypocrites in publishing.

I’m streaming two videos today — Un chant d’amour and an introduction to the film by Jonas Mekas. I’m also providing a free download of a documentary in French about Genet. You will have to join the Telegram channel if you need subtitles. Ask and you shall receive.

The full DVD [Amazon affiliate link] is available in the collection.

Un chant d’amour (French pronunciation: ​[œ̃ ʃɑ̃ damuʁ]; English: A Song of Love) is Francese writer Jean Genet‘s only film, which he directed in 1950.[1] Because of its explicit (though artistically presented) homosexual content, the 26-minute movie was long banned.

From Wikipedia, the free encyclopedia

Like Genet, Papatakis sees Un Chant d’amour diminished by time, and considers it a “soft” film. At this point, however, the work does exist as a work out there in the world, living on quite independently of its creator’s and producer’s changing feelings about it. For the contemporary spectator this delicate, erotic, questioning film is extremely moving, both emotionally and physically. And the powerful responses it evokes conceivably do retain a revolutionary inspirational potential, for it’s in the way in which the spectator then uses his or her moved body that the story really starts.

Jane Giles in ArtForum

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