Alvaro Lombard

Frig — a film in three parts (Love, Shit and Sperm) — is an experimental drama beginning with the end of a love affair. Love and the resulting experience are presented as a metaphor that goes beyond the personal and into a deeper consideration of life’s cycles, ultimately becoming a reflection on life, death and rebirth. Opening with a personal poem and accompanied by fragmented images, the film plunge into Sade’s universe in “120 Days of Sodom” and charts the descent into one’s own, personal hell, revealing the hidden face of society.

A young gay boy, from his birth to his teenage years, in which he experiments his sexuality and his own boundaries, to the day he finally meets his father. In three acts: Act I — L'Annonciation or The Conception of a Little Gay Boy (2011); Act II — Little Gay Boy, ChrisT is Dead (2012); and Act III — Holy Thursday (The Last Supper) (2013).

Jean-Christophe, about twenty, meets his father for the first time. In a forest where they have decided to meet, reality transforms itself and takes the form of a fantastic tale. For Jean-Christophe, the hour is of disappointment in front of the fantasized father who turns out to be very different from what he had dreamed.

Daniel is an artist who has lost his desire to paint. An unexpected meeting with three « working girls » one evening marks the beginning of a surreal adventure. Later that night, the wildest dreams and the worst nightmares of his three new muses unravel in his imagination.

Le Making of Frig

Eros and Thanatos. One deep breath: this is what Maël might need to cope with his partner Adam's suicide, a tragic event that, apart from great sorrow, has caused him to have a physical breakdown. He is troubled by his doubts about his lover's last drastic act, by how he put an end to his life and to their difficult relationship. But his grief turns into anger when he discovers that Adam had a secret long-term relationship with a woman called Patricia: he digs deep into his own memories, recollecting past events and eventually meeting his rival. On her part, Patricia will have to face unexpected dangers. A claustrophobic melodrama, with an unstructured and evocative narrative style. Here, South African director Antony Hickling, 34, confirms his visionary talent and ability to adopt a fresh point of view on queer cinema. All the performers are strictly gay and transgender, including Manuel Blanc, who was once André Téchiné's muse.

Jean-Christophe lives with his mother, an English prostitute, in Paris. He dreams of becoming a model. Over the course of a day, he endures a series of abusive encounters that will change him forever. He goes from innocence to experience as he, and his dreams, are destroyed by those around him. The violence of the film is accentuated by the use of BDSM, Performance Art and Dance.

Boys On Film presents the tenth volume in the world's most successful short film series. All boundaries will be broken as Boys On Film X promises to take it further than ever before, showcasing eight of the most sexy, unique and brilliant new short films, including: Jacob Brown's "Blinders" starring Nathaniel Brown, Byrdie Bell, and Luke Worrall; Fabio Youniss's "A Stable For Disabled Horses" starring Daniel Swan and Daniel Simonsen; Antony Hickling and Amaury Grisel's "Little Gay Boy, ChrisT Is Dead" starring Gaëtan Vettier; Till Kleinert's "Boys Village" starring Benjamin Thorne and Andrew McQueen; Lukas Dhont's "Headlong" starring Jelle Florizoone and Thomas Coumans; Evan Roberts's "Yeah Kowalski!" starring Cameron Wofford and Conor Donnelly; William Feroldi's "Inflatable Swamp" starring Francis Beraud and Paul Huntley-Thomas; and Dominic Haxton's "Teens Like Phil" starring Adam Donovan and Jake Robbins.

30-year-old factory worker Simon lives a solitary existence on a decrepit farm in the remote French countryside. Devoting his time to caring for his sister Estelle, who was left severely disabled when a childhood game went horribly wrong, Simon is plagued by guilt and depression. But he sees a way out, looking to otherworldly forces as a means of liberating both himself and his sister from the corporeal prisons in which they are confined.

Simon lives in the ruins of a lonely desert farm. He is not, however, alone. Caregiver to a gravely ill roommate from a childhood long past and in regular contact with beings from a far away place, Simon's home life is very full indeed.