Cruising
Clubs, nightclubs and other rowdy dance floors are places of ligthness, seduction or dissidence, where musical trends, dramas and romances are born. They are the sulphurous theater of the bodies that are bring together , but also a mental space that can make the multitude and the solitude, the party feeling and the melancholy coexist. From the disco scene of the 1970s to today, this cycle brings together films where people dance without a tomorrow, in the light of neon and strobes.
While a serial killer is rampaging through the New York gay community, police officer Steve Burns, who bears a physical resemblance to the victims, infiltrates the gay S&M scene to investigate. That new nightlife changes him little by little.
William Friedkin
William Friedkin was an American filmmaker, screenwriter, and producer, who was closely identified with the New Hollywood movement of the 1970s. Beginning his career in documentaries in the early 1960s, he is best known for his crime thriller film The French Connection (1971), which won five Academy Awards, including Best Picture and Best Director, and the horror film The Exorcist (1973), which earned him another Academy Award nomination for Best Director. Friedkin's other films in the 1970s and 1980s include the drama The Boys in the Band (1970), considered a milestone of queer cinema; the originally criticized, now lauded thriller Sorcerer (1977); the crime comedy drama The Brink's Job (1978); the controversial thriller Cruising (1980), and the neo-noir thriller To Live and Die in L.A. (1985). Although his works suffered an overall commercial and critical decline in the late 1980s, his last three feature films, all based on plays, were positively received by critics: the psychological horror film Bug (2006), the crime film Killer Joe (2011), and the legal drama film The Caine Mutiny Court-Martial (2023), released two months after his death. He also worked extensively as an opera director from 1998 until his death, and directed various television films and series episodes for television.
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Disco clubs : tour de piste
Il y a un plaisir indéniable à revisiter des films où les clubs, discothèques et autres scènes de party dansant ont une place de premier plan, parce que l’on sait qu’on y trouvera les ingrédients qui nous font jubiler au cinéma : le factice, le clinquant, le rythme et l’absence d’inhibition. Et pourtant, ces scènes de défoulement sont presque toujours teintées de sentiments plus troubles. (...)
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