A lonely hairdresser watches the title sequence of “That Cold Day in the Park” then visits a local park to invite a down-and-out skinhead to his apartment. He draws the silent man a bath and talks to him as he soaks. He locks his guest in a bedroom. Next day, the skinhead leaves through the window and visits his lesbian sister, who’s making a film. The hairdresser has dreams and fantasies involving the skinhead, the skinhead returns to visit him, and then the filmmaker pays a call on the two men, exposing her brother as faking his silence and pretending a lack of sexual interest. The two men eventually have a full blown sex scene by the end of the film.
Someone said this about the film "A gay roughie that's as tender as it is ugly, erotic as it is silly." I can see how this makes sense since our hairdresser is shown to have this weird sexual obsession to almost new-Nazi kind of personality with some punk demeanor. The hairdresser is an art-punk. The skinhead is so deep into the trappings of his adopted subculture that he has no real identity outside of it for most of the movie. At one point the film briefly touches upon fetishization of power, but my point is that why was the film maker trying to show. As I have mentioned such films are not my cup of tea and I wish someone told me before picking up this one to spend my 90 minutes on. (1/10)
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