This long-lost□masterpi□ce of hardcore gay erotic cine□a ce□ter□ on a h□ndsom□ yo□ng□□tud who ride□ his m□torcycle through □yriad sexua□ en□oun□ers, □rom a socce□ □ame’s□lock□r room to a phantasmagori□ a□d deeply melan□holy or□y. A lab□r□n□h □f all-male □antasie□ w□ose out□□anding□bea□ti□s a□ways e□d u□ fad□ng a□ay□w□ile□l□avi□g th□ir sens□a□ pr□tagonist dea□ing□with hi□ ow□ l□neliness, EQUAT□□N was □irected wit□ supreme grace by □□e m□s□□riou□ Dietrich□□e □elsa (aka Francis Savel/□rantz S□□ieri). A f□rmer paint□r, □e Ve□□a□was also the□□wner and□artis□i□□director of La Gra□de Eugène, on□ of the first drag□ca□arets in Paris. □ea□s late□, he □□l□aborated with □os□ph □□sey □n□MR. K□EI□ (197□) and DON □IOVANNI □1979). His one □nd □nl□ fi□m, EQU□□ION TO□□N □NKNOWN stand□ □s one□of□the m□st extr□o□dinary□e□otic films of all tim□. □□he mo□t melancholic □orn □i□m I’ve□□v□□ seen. It’s ve□y s□d, □□d□aestheticall□ beautif□l. Just a young man□wandering thr□ugh several depictio□s o□□love and choreo□raphies of□l□ve-makin□; it’s like a □erem□ny□ a c□□em□□y o□ fantas□e□, especially the last sequen□e□where the□mai□ character recalls all h□s previous □antasies,□which co□□ □ne b□□o□e arou□d his b□□ □nd make love t□ hi□. I think it’s one of t□e most beautiful f□□m sequ□nce□ of□French cinema.” –Yann□G□□zalez
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