Let’s get retro with Freestyler from the Boomfunk MC’s.
Best sold single of the year 2000 in Europe + cute boy ^^,

Because his writing stresses liberation, the French "boy-poet" Arthur Rimbaud, whose art is based solely on his individual creativity, is a progenitor of modern gay poetics. Jean-Nicolas-Arthur Rimbaud was born on October 20, 1854, in Charleville in northern France. Born of rural parents, Rimbaud enrolled in Charleville’s Institution Rossat and then, in the spring of 1865, attended the Collège de Charleville where he earned his degree. He was an exceptional child, who excelled in academic work by mastering two levels in one year.

Rimbaud began writing very early, first in Latin, then in French. His first French poem was "The Orphans’ Gifts" ("Les Étrennes des orphelins") of 1869. With the encouragement of his young professor-mentor Georges Izambard, he had written twenty-two poems by 1870. By the age of sixteen, he had published several poems in the journal Le Parnasse Contemporain.

In 1870, Rimbaud first traveled to Paris. His first sexual experience may have occurred there in 1871 in a barracks with a group of soldiers; his poem "The Stolen Heart" ("Le Coeur volé") may describe such an experience and may be interpreted in terms of sexual seduction or initiation. Rimbaud met Paul Verlaine on his trip to Paris in 1870 and received an invitation to come to Paris in September 1871. Although Verlaine was married and ten years Rimbaud’s senior, a homosexual relationship between the two men ensued. For the next year and a half, they were together in Paris in the Latin Quarter, in the cafés, and in the literary salons. They traveled together to Brussels and London and acknowledged each other in their writing. Rimbaud, for example, playfully refers to Verlaine’s eyes in his famous poem "Vowels" (1871). The couple may appear masked in the section of A Season in Hell (1873) entitled "Délire I": "Foolish Virgin, The Infernal Bridegroom." Nearly all of Rimbaud’s mature poetry was written during his love affair with Verlaine. The latter encouraged him in the creation of The Illuminations in London in 1872 and A Season in Hell in 1873. After the affair ended in July of 1873, when Verlaine shot him in the wrist during a violent quarrel, Rimbaud essentially abandoned his career as a poet.

After a Brussels printer published A Season in Hell in October 1873, providing a way for Rimbaud to send a few copies to his friends in Paris, Rimbaud’s interest in his own work declined. During 1874 and 1875, he traveled widely in Europe. In the spring of 1876, he enlisted in the Dutch army, but soon abandoned that, preferring to travel to Sweden, Denmark, Greece, and Egypt, where in 1880 he was a coffee buyer and in 1887 sold guns.

Rimbaud died on November 10, 1891, at the age of thirty-seven. He is often regarded as the exemplar of the genius who abandoned poetry for a life of action. Rimbaud’s best known poem The Drunken Boat (Le Bateau ivre) was created in 1871 before his seventeenth birthday; it celebrates liberation, especially Rimbaud’s liberation of the senses, and apparently evolved from the beginning of his relationship with Verlaine. Rimbaud’s artistic world is a world of symbols, hallucinations, dreams, and visions, exemplified especially in A Season in Hell and The Illuminations. One of his professed techniques was a "derangement of all the senses." Rimbaud’s two letters (Lettres du Voyant) of May 1871 constitute a literary manifesto in which the poet is assigned the role of "clairvoyant," "magician," and "artist."

Little Ceasar ~ the Rimbau Issue

In his art, Rimbaud assumes the mask of diverse personalities, both male and female. In his letter to Izambard of May 13, 1871, appears a novel concept, "I is someone else" ("Je est un autre"). Is the "someone else" creative artist, persona, or another? Is it a mask for his sexual identity? Rimbaud enhances his writing with motifs of love, music, fantasy, memory, myth, and adolescent visions. The section "Alchemy of the Word" ("L’alchimie du verbe," 1873) in A Season in Hell embodies Rimbaud’s doctrine of "alchemy," "witchcraft," or "magic" since the section shows a preponderance of "poetic" words and creates an incantatory effect. The Illuminations–a psychological autobiography in free verse and prose poems–depicts a myriad of settings, a fairy world of time, place, history, fiction, and beauty. Rimbaud concludes The Illuminations with the "genie": a being both human and supernatural, embodying affection, love, reason, and optimism. Written in the nineteenth-century French symbolist style, rich in poetic diction, the work employs symbols to represent ideas, objects, and states.

Although Rimbaud gave up poetry before he was nineteen, he can be described as a boy-poet-emperor, whose palace is his imagination, where he takes his friends on a fantastic voyage to an imaginary realm of magicians, faeries, gods, angels, and genies. In some respects, Rimbaud redefines art and reinvents love by means of a liberation of art and self. Because Rimbaud’s writing stresses liberation, he is a progenitor of modern gay poetics, influencing such poets and prose writers as André Gide, Jean Cocteau, Federico García Lorca, Hart Crane, and Jean Genet. Several artists have sketched Rimbaud, but Verlaine’s Rimbaud (1872) most memorably portrays the young poet as a genius, an example of the modern creative spirit, the boy-poet whose art is based solely on his individual creativity.

[text from glbtq.com]

  Article about Arthur Rimbaud at Wikipedia
  Article sur Arthur Rimbau à Wikipedia
  Artikel über Arthur Rimbaud bei Wikipedia
  Arthur Rimbaud’s Life and Poetry
  Website for the 150th anniversary (awesome!)

The story of Mysterious Skin follows two teenage boys living in small-town Kansas: Brian, a clunky and awkward fellow with no discernable social life; and Neil, a rebellious gay youth whose fragile beauty and cruel indifference make him a successful hustler to the area’s older men. Having suffered from blackouts as a child, Brian believes that these voids were actually alien abductions, and goes on a quest to confirm this. As his memories become increasingly vivid, Brian convinces himself that Neil, the star player on his childhood Little League team and a regular presence in his dreams, knows the truth. Neil does, in fact, know exactly what happened: the boys were sexually abused by their Little League coach. While Brian has suppressed the incident, Neil has held it deep within him like a treasure, considering it to have been a loving relationship of respect and tenderness, the absence of which has left him emotionally empty. The two strands of narrative are braided together elegantly, slowly leading up to a devastating final scene. Director Araki unifies the stories through an elegiac, celestial tone that manages to avoid preachiness via doses of appropriate humor.

The performances are extraordinary, pulsing with veracity and a bitter sweet naturalism, painful and profound. Savage in its depiction of Neil’s gay hustling encounters, graphic in its revelations of the inner pain inflicted on its characters and unflinching in its closing resolution, the film is a riveting original that some may find almost too agonising to experience. – Urban Cinefile

The World Ends with You, released in Japan as It’s a Wonderful World (すばらしきこのせかい), is an action role-playing game developed by  the team behind Kingdom Hearts for the Nintendo DS handheld. Set in the modern-day Shibuya shopping district of Tokyo, Japan, The World Ends with You features a distinctive art style inspired by the aesthetics of Shibuya and its youth culture.

The story begins with the main playable character, Neku Sakuraba, finding himself an unwilling participant in a mysterious game. Neku, with an eclectic group of allies, must complete assigned missions within a seven-day time limit, or be erased from existence. The battle system uses several features of the Nintendo DS, including combat that takes place on both screens, and attacks performed by certain motions on the touchscreen, or by shouting into the microphone. Elements of the Japanese youth culture, including fashion, food and cell phones, also form key aspects of gameplay.

Even more interesting than the game is the fanart ;) In this case made by CrystalDragon.

Tom Brown’s Schooldays charts a young boy’s first steps towards adulthood as he attends a troubled British school. As Tom Brown (Alex Pettyfer!) arrives at Rugby Public School, so does the new headmaster, Dr. Arnold (the wonderful Stephen Fry), a man who intends to stamp out the bullying and drunkenness that sow corruption in the school. Brown and Arnold collide, but Brown’s true enemy is the brutal Flashman, an upperclassman who dedicates himself to making Brown’s life miserable. Tom soon meets and quickly befriends the most popular boy in school and begins to rebel against Flashman, and Dr. Arnold, the Headmaster.  When his closest ally leaves, Tom soon realizes that his new-found rebellion makes him the whipping boy of Dr. Arnold, and Flashman, but a hero to the rest of the younger boys of the school.

The adaptation of this classic English novel is extremely abridged (only 93 minutes, as opposed to the almost four-hour 1971 version) and takes some liberties with the story (Flashman’s crimes are much more dastardly here). But the results are strong; though the exposition may feel a bit choppy and episodic, the mixing of storylines leads to an emotionally compelling second half. This version retains the novel’s greatest strength, the complexity of Tom Brown himself; far from a cardboard icon of virtue, Brown’s character allows for both courage and insolence, loyalty and rebelliousness. But the movie’s greatest strength is Stephen Fry’s performance; his magnetism, intelligence, and empathy drive Tom Brown’s Schooldays forward.

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Jannis, a cute gay post-adolescent, and his adorable mute boyfriend, Patrick, infiltrate a circus to shoot an undercover documentary exposing an underground political conspiracy responsible for a recent spate of assassination attempts.  But when Patrick meets Mo, a young woman whose sensitivity to sunlight forces her to live by night, Jannis’ jealousy threatens the entire project.  Only Patrick’s unwavering devotion to the boy he loves will help save the day and reveal the truth of who is behind the conspiracy.

Official Website

Set in the not so distant future, Whispering Moon is visually stunning like nothing seen before it.  Blending media, narratives and skin to tell an enticing story about storytelling the film uses cutting edge techniques to move the plot along.  As we see the story unfold, Jannis, the storyteller, interacts with the characters and their environments, creating an eye-catching visual landscape that challenges the audience even as it entertains.

Whispering Moon (Das Flüstern des Mondes) is a quirky film with quirky characters that bring you on a quirky journey!  The story is full of weird twists and just when you think the script is going one way, the plot thickens and sends you in another direction.  The whole story surrounds Jannis and his quest to uncover the truth about some mysterious deaths, crooked politicians, and poisonous frogs.  Jannis’ mute friend Patrick (unable to speak since early childhood), is helping out by using his connections within the local television media; Patrick’s mother is an investigative journalist.  Complicating things slightly for young Jannis is his inability to get inside Patrick’s pants.

Robert Stadtober in Schwarze Schafe

Logan, soft spoken, lonely and 13 years old, is a boy with a crush.  Unlike his equally lonely friend Joey, who obsesses over the sexual exploits of the slightly older, postpubescent boys, Logan is fixated on the boys themselves, particularly Rodeo Walker.  Rodeo is the only one of the group of cool kids who shows any friendliness toward Logan, meaning he doesn’t go out of his way to make Logan’s life miserable.  As Logan and Rodeo strike up a mismatched friendship, the kind that only works on walks deep into the forest when no one else is around, Logan’s infatuation with Rodeo inspires him to create a new persona named Leah.  Leah and Rodeo grow close through whispered phone calls, and when Leah agrees to meet Rodeo face to face, it is Logan who must finally prove that he can ask for what he so achingly wants.

Painfully surreal and remarkably accurate, Wild Tigers I Have Known has all the makings of a controversial movie that will make some right-wingers down right angry.  Logan, brilliantly played by Malcolm Stumpf, is an effeminate acting boy who masturbates to visions of boys wrestling in singlets, and doesn’t seem to care what the other school kids say about him.  Publicly humiliated and continually called a "Fag" at school, Logan’s only sanctuary from all this ridiculing is his basement and Joey’s bizarre, space-age bedroom. Joey, an equally geeky, but non-gay friend, is a little too dense to see what Logan is all about (even after a penis measuring contest in the closet), but enjoys the sexually-based conversations they usually have about the other boys in the school.  When Logan and Rodeo become closer friends, Joey quickly fades from the scene until one day Logan invites Joey over to "show him something."

Violent Femmes and wrestling boys. The same boys watching TV, huffing glue, jerking off, playing soccer, dodging water balloons, sharing headphones, and dancing, singing, and drumming at punk rock shows. Listed in this manner, the basic ingredients of Alexis Dos Santos’s Glue don’t sound that different from those of a dozen other teen films. But the way Dos Santos views such material is something else entirely. Glue is that rare kind of filmmaking so attuned to pleasure and spontaneity that it tickles your palate, opening up new possibilities about how to live. The film’s chief subject matter — bisexuality that takes exhilarating form before the constraints of adulthood can arrive — is ideally realized through Dos Santos’s sensual and whim-driven approach.

“If my parents made love before I was conceived, would it be me being born or another boy?” skinny, wild-haired, and sleepy-eyed Lucas (Nahuel Pérez Biscayart) wonders to himself at the beginning of Glue, before his jock friend Nacho (Nahuel Viale) and their mutual crush, the gawky yet beautiful Andrea (Inés Efron), arrive on screen. When Andrea is eventually introduced, it’s via a poolside scene in which polite kisses through a steel fence provide one typically fleet example of Dos Santos’s ability to land on the right use of foreground, background, and happenstance scenic detail to convey a shot or scene’s emotional temperature.

This symbiosis between director and actors — and perhaps even more important, between actors — results in some extraordinary passages. Glue meanders near its end, when, in true teen spirit, it doesn’t want a good time to end. But in its best moments, Dos Santos’s debut feature is an important and exciting addition to Latin American cinema’s evolving views of masculinity. (Sergio de la Mora’s recent book Cinemachismo is an excellent source for historical background on the subject.) Glue’s ménage à trois is more radical than the ones in both Alfonso Cuarón’s Y Tu Mamá También and Fernando Eimbcke’s chaste Duck Season, though one suspects those more commercial movies helped pave the way for the spaces that Dos Santos and his actors discover. Like Julián Hernández’s Broken Sky, in which a trio of young lovers meet and kiss repeatedly in public, Dos Santos’s insular and gutsy film charts territory where people don’t repress their desires.

Found at Inkplum (which will be back this month, yes xD)