of the mainstream gay culture in Britain, believing it to be "off-the-peg" and generic, and describing it as "the biggest suicide cult in history". He has also called the British scene as "materialistic-hedonistic". That is what one reads on the wikipedia page dedicated to David Hoyle. I wanted a clue for the film and the artist, so I visited the page.
The performance-artist-meets-gay-porn-actor challenge and the fact that they improvised during the film's shooting intrigued me.
The result seems like a haughty allegory where uncle David most of the time rants about social ills (he is not as interesting as he thinks he is) and condemns nephew or whatever to a higher level through death.
Mr.Hoyle takes a representative of the adult industry and by scapegoating tries to blur what separates film, performance, social commentary, social reality. The backgrounds of the participants must be taken into account. As it is, this film plays like "I, performance uncle David Hoyle, put to death the materialistic-hedonistic, generic gay Brit scene," but the effect is neither comic nor insightful.
The title also feels interchangeable. Godard would have make something like "Uncle Sam" and he would have meant America and Beckett, or something, for he truly is a fierce spirit, unlike David Hoyle who should check out a film like, say, "The Awful Truth" (1937) based almost completely on improvisation - with such brilliant results - before he tries something so perilous as basing an artistic endeavor on interaction and improvising again.
The performance-artist-meets-gay-porn-actor challenge and the fact that they improvised during the film's shooting intrigued me.
The result seems like a haughty allegory where uncle David most of the time rants about social ills (he is not as interesting as he thinks he is) and condemns nephew or whatever to a higher level through death.
Mr.Hoyle takes a representative of the adult industry and by scapegoating tries to blur what separates film, performance, social commentary, social reality. The backgrounds of the participants must be taken into account. As it is, this film plays like "I, performance uncle David Hoyle, put to death the materialistic-hedonistic, generic gay Brit scene," but the effect is neither comic nor insightful.
The title also feels interchangeable. Godard would have make something like "Uncle Sam" and he would have meant America and Beckett, or something, for he truly is a fierce spirit, unlike David Hoyle who should check out a film like, say, "The Awful Truth" (1937) based almost completely on improvisation - with such brilliant results - before he tries something so perilous as basing an artistic endeavor on interaction and improvising again.