Trevor Wright and Brad Rowe in ‘Shelter.’ The film, now playing in select theaters, will debut on here! TV’s
cable channel Friday, April 18, with a May 27 DVD release.
Director Gregg Araki says the raw, punk-rock energy of his controversial ‘The Living End’ holds up. The hot factor hasn’t faded either.
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By CHRISTOPHER WALLENBERG
Friday, March 28, 2008
The new gay indie “Shelter,” which earned top honors at a number of gay and lesbian film festivals, represents a welcome step forward for the coming out genre.
Not only does the film offer a sensitive, thoughtful treatment of one young man’s sexual and artistic awakening, but it also gives its audience two cliché-free main characters who subvert the stereotypes that often permeate gay coming-out films. More significantly, “Shelter” presents a protagonist who’s not only struggling with his sexuality, but also grappling with the other issues of his identity, including family and his passions for art and surfing.
Although the film displays a sometimes-frustrating affinity for the soapy tropes, easy sentiments and pat endings of Lifetime-style TV drama, “Shelter” should be applauded for its engaging visuals, naturalistic dialogue and nuanced performances, particularly from its two leading men.
Written and directed by art director-turned-first-time filmmaker Jonah Markowitz, “Shelter” stars newcomer Trevor Wright as a college-aged surfer and aspiring artist named Zach, who has subverted his own needs and desires in order to take care of his sister, Jeanne (“Six Feet Under”’s Tina Holmes), and her five-year-old nephew Cody (Jackson Wurth).
As a struggling single mom, Jeanne’s priorities are a bit screwed up, so Zach is often left to care for Cody, whom he loves like a son. Still, Zach feels like his life is going nowhere, and he’s conflicted about his feelings for his on-again, off-again girlfriend Tori (Katie Walder). He spends most of his time working at his dead-end job at a diner, skating the urban streets of San Pedro, drawing elaborate artworks on the sides of buildings and surfing the waves of the Pacific.
But when Zach starts hanging out with his best friend’s older brother Shaun (Brad Rowe, the hunk from “Billy’s Hollywood Screen Kiss”), who has returned home from L.A. to cure a case of writer’s block and recharge his batteries, he finds himself surprisingly attracted to this confident, masculine guy who seems to know exactly what he wants out of life. The two friends quickly transition from casual surf buddies into a true, intimate relationship.
Shaun pushes Zach to pursue his art and reapply to school. He also easily bonds with Cody, which brings up a host of issues about what constitutes family. Yet Zach is unsure of the emotions he feels for Shaun, especially when his sister begins questioning the nature of their relationship. Further complicating matters is Zach’s best friend and Shaun’s younger brother, Gabe (Ross Thomas), who returns from college for a visit and almost catches Zach and Shaun in bed together.
Although the film follows the typical trajectory of the coming out film (boy meets boy, boy falls in love, boy tentatively comes out of the closet, then goes back in), “Shelter” still feels refreshin. The progression of Zach and Shaun’s relationship is subtle and believable. Nothing feels forced. And while the conflict of Zach’s coming out drives the film, his sexuality is treated in concert with the other aspects of his still-burgeoning identity.
“Shelter” may not be groundbreaking cinema, but unlike the many coming-out films of recent vintage, it’s refreshing, emotionally honest, and never overwrought. Oh, and sexy as hell.
“Shelter” (here! TV) is now playing in select theaters. It will debut on here! TV’s cable channel on Friday, April 18, with a DVD release slated for May 27.
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