Four young men, each somewhere near the crossroads where boyhood and adulthood meet, find their lives intertwined in the strange world of low-budget porn and male burlesque photo shoots in New York City. Max (Al Miro) is a suave, handsome Italian living in Canada who has become somewhat of a regular in the adult film scene. Checking into a hotel before the shoot, he struggles to put his feelings toward his distant father into a letter. Elsewhere in the city, Max meets and exchanges phone numbers with Fabian (Joe Lopez), a Puerto Rican from Queens with latent homosexual tendencies, who is grappling with the challenges of becoming a father for the first time and hearing an unexpected revelation from his own dad. Manuel (Jonathan Iglesias), a quiet but confident midnight cowboy from Arizona, makes his way to New York to shoot a porn scene with Max. While in town, he reaches out to his estranged older brother Jorge (James Koroni), a somber dancer in a loveless relationship with an overly critical photographer. With a nod to the French New Wave and a dash of Cassavetes, writer-director Daniel Armando weaves themes of fatherhood, family, and manhood into a beautifully stylized, enormously evocative, and highly erotic sketch of contemporary New York City that feels timeless with its stunning black-and-white cinematography.
Preceded by
Last Vestiges by Seth Poulin/Canada/7:43/2016
During a night of harsh rejections, Eddy notices an elderly man staring at him from across the club. Desperate for attention and money, Eddy offers the man a dance. But once the two are alone in a private booth, things take an unexpected turn.
Daddy’s Boy
Daniel Armando/USA/78min/2015
Four young men, each somewhere near the crossroads where boyhood and adulthood meet, find their lives intertwined in the strange world of low-budget porn and male burlesque photo shoots in New York City. Max (Al Miro) is a suave, handsome Italian living in Canada who has become somewhat of a regular in the adult film scene. Checking into a hotel before the shoot, he struggles to put his feelings toward his distant father into a letter. Elsewhere in the city, Max meets and exchanges phone numbers with Fabian (Joe Lopez), a Puerto Rican from Queens with latent homosexual tendencies, who is grappling with the challenges of becoming a father for the first time and hearing an unexpected revelation from his own dad. Manuel (Jonathan Iglesias), a quiet but confident midnight cowboy from Arizona, makes his way to New York to shoot a porn scene with Max. While in town, he reaches out to his estranged older brother Jorge (James Koroni), a somber dancer in a loveless relationship with an overly critical photographer. With a nod to the French New Wave and a dash of Cassavetes, writer-director Daniel Armando weaves themes of fatherhood, family, and manhood into a beautifully stylized, enormously evocative, and highly erotic sketch of contemporary New York City that feels timeless with its stunning black-and-white cinematography.
Preceded by
During a night of harsh rejections, Eddy notices an elderly man staring at him from across the club. Desperate for attention and money, Eddy offers the man a dance. But once the two are alone in a private booth, things take an unexpected turn.
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