You probably know that Neil Armstrong was the first man on the moon. But that guy in all the pictures from the first moon landing? That's Buzz Aldrin. So here's a lesson for you all: It doesn't matter if you're the first guy out of the spaceship, just as long as you make the other guy hold the camera.
So sure, Aldrin has been to the moon, but what does he know about mooning? We've invited him to play a game called "Drop your pants and take a bow" — three questions about exposing one's buttocks.
David Kato, a teacher and LGBT rights activist — as well as the first openly gay man in Uganda — is at the forefront of <em>Call Me Kuchu's</em> story.
The Ugandan tabloid <em>Rolling Stone</em> — no relation to the American publication — has been a leading player in anti-gay crusades in the east African nation. The documentary <em>Call Me Kuchu </em>profiles a community of activists at the center of the political and cultural storm.
Horrific and uplifting, the excellent documentary Call Me Kuchu is partly framed as a portrait of David Kato, Uganda's first openly gay man. An activist of enormous courage and persistence — against odds that make the U.S. fight for marriage equality seem like a cakewalk — Kato was a savvy political strategist, with wit, charm and joie de vivre to burn. And he loved a good party, with his friends in drag where possible. But he was terrified of sleeping alone on his farm.
Toby Jones plays a solitary sound engineer working night shifts in <em>Berberian Sound Studio, </em>a cunningly structured, deftly executed love letter to the gory Italian scarefests called <em>giallos.</em>
Horror films are filled with the things that nightmares are supposedly made of: monsters, madmen, murder, assorted blood and guts.
But those are really just the props of nightmares — representations of the psychological terrors that really plague us: our fears about mortality, isolation, abandonment and failure. Peter Strickland's Berberian Sound Studio is one horror film that opts to skip the usual frolic among those metaphorical monsters in favor of a deeply unsettling dive into the subconscious.