Movies and TvShows featuring "close-up-of-a-mans-face" theme.

Set in the late 1980s, this critically acclaimed indie classic from 1992 portrays a gritty side of gay life in Los Angeles. Ethan (Paul Marius), a 27-year-old photographer, believes he has no need for love or commitments, and is living his life amidst one-night stands. Ethan is coaxed by his "best buddy" Dennis (Jason Adams) into attending a reunion of college friends and lovers at a Palm Springs hideaway. What is supposed to be a restful vacation turns into a round of hard drinking and cruel sexual games. By the end of the "vacation," Ethan feels a need for new friends and returns to Los Angeles. Confronting his troubled family life, he calls his father - who doesn't want anything to do with him. In the end, Ethan realizes that he can make his own "family" with friends who will accept each other without judgments.

Theo is a young docker languishing in his native port. His life flows at the monotonous rhythm of cargo ships passing by. Through his encounter with Giuseppe, a disillusioned sailor ashore for a while, Theo will gather the courage to face the waves to escape his dull existence by trying to get into Giuseppe's gruff crew.

Pehlivan focuses on a three-day wrestling competition, an ancient tradition that dates back over a thousand years to the time of the Ottoman Empire, originating in the games the soldiers would play to entertain themselves in between battles. Maybe that's why there's more than a hint of homoeroticism in the way the wrestlers oil themselves up with grease, making sure to cover every inch of their bodies so that their opponents will be unable to get a grip. Pialat's closeups emphasize the men's muscular bodies jammed together and sliding off one another, posed in intimate, twisted arrangements, struggling desperately for a grip on each other's bodies. Arms are jammed down pants, one of the only places there's some potential for a handhold, and the whole thing is very suggestive and sensual, a form of intimate male contact that's sanctioned as a show of strength and masculinity.

It is the year 2060 and AIDS has been eradicated. However, in some, the HIV virus has now mutated into a gene from which a drug can be produced that has become the white powder of the twenty-first century. With a virtually supported scanning system, secret police are trying to identify anyone who carries this gene. Filmed in Berlin, Taiwan-born multimedia artist and filmmaker Shu Lea Cheang’s science fiction dystopia revolves around a struggle to gain control over the production and exploitation of bodily fluids. Her film is like an orgiastic opera; a breathless round of bodies, secretions, performances and sexual acts often performed in the service of an overriding economy. An unusual, largely experimental and deliberately parapornographic drama in which the borders between the sexes as well as homo-, hetero-, bi-, trans- or intersexual are constantly blurred.

Set on a steam-shrouded railway station and shot in high-contrast black and white, Richard Kwietniowski's film lovingly twists David Lean's stiff-upper-lipped romance Brief Encounter into a rich and witty contemporary melodrama, with two devilishly handsome young men standing in for Celia Johnson and Trevor Howard.

Young men find themselves scattered and defencelessly exposed to a merciless sun. Their gaze moves off searchingly into the distance. Deserted places appear to offer vague promises of refuge. On a prison wall, an explosive image of desire emerges, full of hope for freedom.