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I like the storyline of this show,it attract me so much

Very very predictable, including the post credit scene !!!

This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

An old-fashioned movie made with new-fashioned finesse.

...of course, that depends on what definition of "gay" you're using. In terms of "happiness", this film falls quite flat (although there is a sense of hope in the short's very final moments, specifically the second to last shot), however in terms of homosexuality, this avant garde masterpiece is quite strong. A landmark of queer cinema, "A Song of Love" is a beautiful film no matter what your sexuality (as long as you have at least a mild tolerance for penis imagery), one that conveys the powers of passion like few films ever have. It expresses ones most inner feelings and desires in a fashion that is abstract, but enjoyable and relatable. I'm not gay myself, but I can certainly identify with this film to an extent, it is like a visual representation of the great emotional toll love can have on a person, and it's brilliantly made. The cinematography, acting, lighting, camera-work, editing, and so on are all top notch, and as long as you can get into the film's experimental style, you're most likely to relish in its erotic and emotional glories.

With the large quantity of gay-themed short movies that were made in the last 10 years, "Un chant d'amour" may be considered a bit of a trail blazer. And as early as it was for that genre, it was obviously rather late for a black & white short film, long long after the Golden Age of Chaplin, Keaton, Lloyd, Arbuckle and the others. In this short film, we see several prisoners and how they manage to communicate through the heavy stone walls. They succeed surprisingly well and also manage, for the most part to avoid getting caught by the warden.While their dreams of liberty were depicted fairly beautifully, I was not really wowed by the rest of the film, especially the prison parts. The depiction of seclusion and isolation was simply not made well-enough to get me truly emotionally involved. The story simply wasn't enough to justify a runtime of almost 30 minutes. Here and there, it got quite artistic, but it also overshot the mark occasionally and became pretentious, for example in the scene with the black prisoner dancing. All in all, I'd only recommend it to the biggest silent or b/w film enthusiasts.

This film by Jean Genet is a very symbolic, surrealistic, and depressing film, presenting, through a series of disturbing and highly erotic images, upsetting metaphors for our desperate human need for love and union with another, and the barriers to fulfillment.Because Jean Genet's own sensibilities were homosexual, all the characters in the film are male, and the eroticism is more accessible to men who either share his tastes: for such men, many scenes of the film can be very arousing. For others, the film will probably open up a window into the experience, and for still others, many scenes may provoke disgust and revulsion. Again, because of Genet's own tastes, there is an element of sado-masochism mixed into the eroticism: indeed, all the characters but one are oppressed prisoners, literally in "bondage." However, aside from the unusual sensuousness of the film, and the surprising explicitness, the film is full of unforgettably great imagery, honest and deep emotion, and enormous poetic beauty. It is a very slow-moving, dark, oppressive film, and should only be viewed when the viewer is prepared for a contemplative, surrealistic journey; in spite of its short length (about 25 minutes), it is a very compact film, and can feel quite draining, emotionally.It is a little gem, and I regard it as one of the "essentials" of film.

UN CHANT d'AMOUR is a remarkable short: sordid, brutal, provocative; yet as poetic and lyrical as its title suggests. Although not as rich and beguiling as Fassbinder's QUERELLE, and despite its claustrophobic lack of humour, the film lacks the prolixity that often mars Genet's most famous literary works.Indeed, there are no words in this film at all, or music, or any kind of sound. Just complete silence. This is thematically vital: set in a prison, with inmates in solitary cells, the film explores the idea of the voice - who has the power to speak, and hence represent themselves, in our society. The film begins with the figure symbolic of this power in society - authority - in this case a police warden. Robbed of a voice, he is reduced to the role of a voyeur, becoming OUR representative. The complicity between authority and criminality is a favourite Genet theme. As the audience for this kind of film is predominantly middle-class, it is the warden who sees for us an underworld we would normally run a mile from.We see frustrated prisoners, trying to communicate: by passing flowers through barred windows; knocking on walls; through special code; or, in the film's most exquisite and arousing sequence, through a shared smoking between a hole in the wall. The film is a melodrama, literalising what Nicholas Ray made figurative - imprisonment and repression. The film, inevitably, honestly, ends as it began, with one crucial, perhaps hopeful, difference. Some men get relief from this intolerable situation through masturbation, others by mad erotic breakdancing. There are scenes which escape this hell into a kind of pastoral arcadia, where two men find happiness amidst sunny verdure. It is difficult to tell whether this sequence is a flashback, flashforward, or merely a dream (the whole thing could be the warden's fantasy), but it too eventually ends in brutality and death.All this is shown to us from the viewpoint of the warden. His gaze, though, is explicitly fetishised - he is made complicit in what he sees. This is literalised when his arousal becomes unbearable, and he begins whipping a prisoner. The phrase 'climax of the movie' begins to take on more than one meaning.The inmates themselves are subject to explicit fetishism - being reduced to a series of torsos, limbs, hands, members. Normally in cinema, this kind of spectacle is visited on beautiful women for the delectation of the male viewer. Here the male prisoners are treated to huge close-ups and soft lighting, like the greatest Hollywood starlet, a profoundly subversive gesture. Years before cultural studies, masculinity is systematically shown to a performance, a process of becoming.The film is bookended with childlike Cocteauesque credits on a blackboard, as if by laying squalor and sexuality so bare and unflinchingly, Genet hopes to return us to a kind of innocence, a new way of seeing.