Suspended disbelief: Elizabeth Streb’s dancers.
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Defying gravity: LGBT voices and daredevil acrobats delight Ryan Gilbey at BFI Flare

BFI Southbank's LGBT film festival Flare has become more eye-catching. Now it dazzles.

When the actor Russell Tovey expressed relief that his tough upbringing had saved him from becoming one sort of gay man (the type who “prances around”), he was campaigning on behalf of another: those who make themselves less demonstrative and eye-catching lest they incur the wrath of a hypothetical foe. That streak of denial and self-loathing is addressed in Do I Sound Gay?, which is screening as part of BFI Flare, the institute’s annual LGBT film festival (19-29 March). Formerly known as the London Lesbian and Gay Film Festival, it underwent a makeover last year, reshaping itself to be more eye-catching, not less.

David Thorpe, the director of Do I Sound Gay?, finds himself newly single in his forties and resolves to investigate something he feels is hampering his prospects of happiness: his voice. A more honest film would have admitted that this is as much about a documentary-maker’s search for a subject but the conceit holds for a while. Thorpe consults a speech therapist, who identifies an elongated “O” and prescribes vocal exercises (“Roberto was aglow and the fish was local”). We also meet the writer David Sedaris, who looks crestfallen at the regularity with which he is addressed as “ma’am” when phoning the reception of a hotel.

The mood is playful to a fault: Thorpe doesn’t wrestle with his subject so much as tickle it. Despite interviewing Zach King, who refused to modify his voice or gait even after a homophobic attack on him was filmed by classmates when he was 15, and admitting to his revulsion at the sound of “braying ninnies”, Thorpe loses focus and momentum. His analytical powers are also suspect. Complaining that the only audible gay voices in his youth belonged to the camp or effeminate, Thorpe doesn’t realise that this was because the mainstream wouldn’t countenance other kinds of gayness. Had Tovey been acting then, he would have needed to polish up his prancing or else grow to like the inside of his closet.

Any confined spaces in Catherine Gund’s Born to Fly: Elizabeth Streb v Gravity exist to highlight the boundlessness of the human body. Streb, a 65-year-old choreographer, wears a black suit, black specs and ink-splash hair; she’s John Cooper Clarke’s Mini-Me. As the founder of Streb Extreme Action, she urges her company on to the far reaches of physical endurance and injury (“More force! More velocity! More risk!”) and asks: “If you’re not flying, what’s the point?” One collaborator traces this to Streb’s sense of rootlessness as an adopted child. Streb Extreme Action has become an unofficial home for performers whose approach to family has been DIY.

BORN TO FLY: Elizabeth Streb vs. Gravity [Official Trailer] from Aubin Pictures on Vimeo.

Her dancers turn somersaults inside oversized hamster wheels; one plucky lass is spun horizontally inside a giant egg whisk at the end of a rotating robotic arm while others leap through glass or dodge spinning girders and pendulous breeze blocks. It’s the only dance company that should be wearing hard hats instead of tights and leotards. One of the most spellbinding pieces is “Little Ease”, named after a medieval torture cell into which the victim was crammed. There’s a persuasive continuity between this minimalist work and Streb’s epic One Extraordinary Day event, staged as a taster for the 2012 Olympics and featuring dancers inching along the spokes of the London Eye, with Streb walking upright down the cloud-carpeted exterior of City Hall. Gravity and space are reduced to mere formalities.

The trailer for The Vagine Regime. Warning: potential tears

I also enjoyed another documentary, Erica Tremblay’s In the Turn, in which an LGBT roller derby team, the Vagine Regime, zooms on to the rink through the parted curtains of a pair of pink fabric labia. Its antics have a serious point, as shown by the inspiration they provide to Crystal, a transgender child with suicidal impulses. Frangipani, Sri Lanka’s first gay film, brings an ingenuous sweetness and a delicious visual aesthetic to a familiar love triangle: boy chases girl who won’t give him back his nail varnish remover, girl holds a candle for him, boy is more interested in getting his hands on another boy’s candle. Melodrama creeps in but there’s no disputing the eye or the heart of the director, Visakesa Chandra­sekaram. He brings extra flair to Flare. 

Ryan Gilbey is the New Statesman's film critic. He is also the author of It Don't Worry Me (Faber), about 1970s US cinema, and a study of Groundhog Day in the "Modern Classics" series (BFI Publishing). He was named reviewer of the year in the 2007 Press Gazette awards.

This article first appeared in the 13 March 2015 issue of the New Statesman, Israel's Next War

New Statesman
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Quiz: Can you identify fake news?

The furore around "fake" news shows no sign of abating. Can you spot what's real and what's not?

Hillary Clinton has spoken out today to warn about the fake news epidemic sweeping the world. Clinton went as far as to say that "lives are at risk" from fake news, the day after Pope Francis compared reading fake news to eating poop. (Side note: with real news like that, who needs the fake stuff?)

The sweeping distrust in fake news has caused some confusion, however, as many are unsure about how to actually tell the reals and the fakes apart. Short from seeing whether the logo will scratch off and asking the man from the market where he got it from, how can you really identify fake news? Take our test to see whether you have all the answers.

 

 

In all seriousness, many claim that identifying fake news is a simple matter of checking the source and disbelieving anything "too good to be true". Unfortunately, however, fake news outlets post real stories too, and real news outlets often slip up and publish the fakes. Use fact-checking websites like Snopes to really get to the bottom of a story, and always do a quick Google before you share anything. 

Amelia Tait is a technology and digital culture writer at the New Statesman.