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

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Could tactical voting stop Brexit?

Could tactical votes soften the Brexit blow?

Could tactical voting save Britain from the hardest of exits from the European Union?

That's the hope of Open Britain, which has unveiled a list of 20 seats held by supporters of a hard Brexit (19 Conservatives and one Labour MP, Kate Hoey) in areas that either split evenly in the referendum or backed a Remain vote, and a list of 20 seats held by pro-Europeans: among them Labour MPs Pat McFadden and Liz Kendall, Liberal Democrat MPs Nick Clegg and Tom Brake, and Caroline Lucas, the Greens' sole MP. (Read the full list here.)

"Remain group seeks to oust pro-Brexit MPs" is the Guardian's splash. The intiative has received the thumbs up from Peter Mandelson on Newsnight and Tony Blair in the Guardian. But will it work?

A quick look at the seats in question shows the challenge for anyone hoping for a pro-European front to frustrate Brexit. Theresa Villiers has a majority of more than 7,000 over Labour: and if you're a voter in Chipping Barnet who backed a Remain vote because you were worried about your house price, is Jeremy Corbyn really the answer to your problems? (That said, it's worth noting that thanks to the scale of the 2015 defeat, Chipping Barnet is one of the seats Labour would have to win to get a majority in the House of Commons.)

Or take, say, Kate Hoey in Vauxhall, one of the few people in Labour who can claim to be a unifying figure these days. Yes, she is deeply unpopular in her local party who have mounted several attempts to remove her. Yes, Vauxhall voted heavily to Remain. But - as Jessica Elgot finds in her profile for the Guardian- it also has a large amount of social housing and has more children living in poverty than all but 51 other seats in the House of Commons. There are a great number of people who believe their own interests are better served by sending a Labour MP to Westminster rather than refighting the referendum.

That's a reminder of three things: the first is that the stereotype of the Remain vote as people straight out of the Boden catalogue misses a number of things. The second is that for many people, Brexit will take a back seat.

But the big problem is that you can't make an anti-Brexit - which, by necessity, is essentially an anti-Conservative - alliance work if the main anti-Conservative party is so weak and unattractive to most people. "Voting pro-European" may give Labour's Corbynsceptics a way to advocate a vote for Labour that doesn't endorse Jeremy Corbyn. That doesn't mean it will succeed in stopping Brexit.

Stephen Bush is special correspondent at the New Statesman. His daily briefing, Morning Call, provides a quick and essential guide to British politics.

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