The film is deeply radical in its own quiet way – a salute to the fun and unpredictability of sexual fluidity, alternative lifestyles, and existing on the fringes.
, the 1999 polyamory rom-com from Gregg Araki that’s noteworthy for never, ever being talked about. The words are are heard over lush close-ups of lips, teeth, and groping hands, all bathed in bisexual lighting and soundtracked, like so much of Araki’s filmography, by Slowdive.
And that might explain why, in comparison to the years of Araki work so beloved by queer kids, punks and stoners ,isn’t a foreboding anthem for the end of the world, like Araki’s 2010 mystery, his Robert Altman-on-a-ket-binge Hollywood odyssey from 1997. There’s none of the palpable anger of 1992’s, either, both movies indebted to the horrors of AIDS, with every act of sexual expression dovetailing with death and violence.
Very much in Carrie Bradshaw mode at first, Veronica attempts to casually date both men, with every intention of breaking it off with one of them eventually. But amid recognizing how Abel and Zed both satisfy different parts of herself in different ways, she suddenly doesn’t. Instead she ponders whether such a choice even needs to be made, proposing a subtle queering of what was once a tense and very straight love triangle.
, currently only available as a low-quality rip from a bootleg VHS, is driven by the budding sexual tension between a heterosexual couple and their gay best friend, whilepitches itself like a deranged bisexual road movie, with an uber-glam pair of outcasts seduced by a hyper-sexual psychopath. But while the former is a talky and scattered work-in-progress and Doom an acidic, disaffected black comedy,The Doom GenerationWhich isn’t to say that Araki is usually steeped in nihilism.
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