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

Paul McMillan
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"We're an easy target": how a Tory manifesto pledge will tear families apart

Under current rules, bringing your foreign spouse to the UK is a luxury reserved for those earning £18,600 a year or more. The Tories want to make it even more exclusive. 

Carolyn Matthew met her partner, George, in South Africa sixteen years ago. She settled down with him, had kids, and lived like a normal family until last year, when they made the fateful decision to move to her hometown in Scotland. Matthew, 55, had elderly parents, and after 30 years away from home she wanted to be close to them. 

But Carolyn nor George - despite consulting a South African immigration lawyer – did not anticipate one huge stumbling block. That is the rule, introduced in 2012, that a British citizen must earn £18,600 a year before a foreign spouse may join them in the UK. 

“It is very dispiriting,” Carolyn said to me on the telephone from Bo’ness, a small town on the Firth of Forth, near Falkirk. “In two weeks, George has got to go back to South Africa.” Carolyn, who worked in corporate complaints, has struggled to find the same kind of work in her hometown. Jobs at the biggest local employer tend to be minimum wage. George, on the other hand, is an engineer – yet cannot work because of his holiday visa. 

To its critics, the minimum income threshold seems nonsensical. It splits up families – including children from parents – and discriminates against those likely to earn lower wages, such as women, ethnic minorities and anyone living outside London and the South East. The Migration Observatory has calculated that roughly half Britain’s working population would not meet the requirement. 

Yet the Conservative party not only wishes to maintain the policy, but hike the threshold. The manifesto stated:  “We will increase the earnings thresholds for people wishing to sponsor migrants for family visas.” 

Initially, the threshold was justified as a means of preventing foreign spouses from relying on the state. But tellingly, the Tory manifesto pledge comes under the heading of “Controlling Immigration”. 

Carolyn points out that because George cannot work while he is visiting her, she must support the two of them for months at a time without turning to state aid. “I don’t claim benefits,” she told me. “That is the last thing I want to do.” If both of them could work “life would be easy”. She believes that if the minimum income threshold is raised any further "it is going to make it a nightmare for everyone".

Stuart McDonald, the SNP MP for Cumbernauld, Kilsyth and Kirkintilloch East, co-sponsored a Westminster Hall debate on the subject earlier this year. While the Tory manifesto pledge is vague, McDonald warns that one option is the highest income threshold suggested in 2012 - £25,700, or more than the median yearly wage in the East Midlands. 

He described the current scheme as “just about the most draconian family visa rules in the world”, and believes a hike could affect more than half of British citizens. 

"Theresa May is forcing people to choose between their families and their homes in the UK - a choice which most people will think utterly unfair and unacceptable,” he said.  

For those a pay rise away from the current threshold, a hike will be demoralising. For Paul McMillan, 25, it is a sign that it’s time to emigrate.

McMillan, a graduate, met his American girlfriend Megan while travelling in 2012 (the couple are pictured above). He could find a job that will allow him to meet the minimum income threshold – if he were not now studying for a medical degree.  Like Matthew, McMillan’s partner has no intention of claiming benefits – in fact, he expects her visa would specifically ban her from doing so. 

Fed up with the hostile attitude to immigrants, and confident of his options elsewhere, McMillan is already planning a career abroad. “I am going to take off in four years,” he told me. 

As for why the Tories want to raise the minimum income threshold, he thinks it’s obvious – to force down immigration numbers. “None of this is about the amount of money we need to earn,” he said. “We’re an easy target for the government.”

Julia Rampen is the digital news editor of the New Statesman (previously editor of The Staggers, The New Statesman's online rolling politics blog). She has also been deputy editor at Mirror Money Online and has worked as a financial journalist for several trade magazines. 

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