Jean-Étienne Siry

Between 1975 and 1983 a new kind of film could be seen in French cinema : home-grown gay pornography. The films were shot in 16mm and most of them were passed and given certificates by the CNC (National Cinema Centre). They were screened in a small number of Parisian cinemas dedicated to gay pornographic films : Le Dragon, La Marotte and Le Hollywood Boulevard as well as several in the provinces. They were essentially the work of three production companies : Les Films de La Troïka (Norbert Terry), AMT Productions (Anne-Marie Tensi) and Les Films du Vertbois (principally Jacques Scandelari). The genre met an untimely end with the advent of video, the last being made in 1983 "Mon ami, mon amour (My friend, my lover)". Since then, gay pornography has not been screened in French cinemas. This film is the result of five years of painstaking research and investigation. It features extensive interviews with the directors and actors illustrated by numerous extracts from their films.

Between 1975 and 1983 a new kind of film could be seen in French cinema: home-grown gay pornography. They were essentially the work of three production companies: Les Films de La Troika (Norbert Terry), AMT Productions (Anne-Marie Tensi) and Les Films du Vertbois (principally Jacques Scandelari). The genre met an untimely end with the advent of video, the last being made in 1983 'Mon Ami, Mon Amour (My Friend, my Lover)'.

Following a recent divorce, Hélène Gallois (Florence Giorgetti), a well-known writer, meets Edouard Fournier (Renaud Verley) in a specialized clinic where she is being treated. A kind of friendship is formed between them which evolves very quickly towards a sexual complicity ...

Following a recent divorce, Hélène Gallois (Florence Giorgetti), a well-known writer, meets Edouard Fournier (Renaud Verley) in a specialized clinic where she is being treated. A kind of friendship is formed between them which evolves very quickly towards a sexual complicity ...

Unaware that his lover, who has left him, has died in a car crash, Lucien wanders through Paris, going from one gay encounter to another, as if to forget about his sorrow.

Unaware that his lover, who has left him, has died in a car crash, Lucien wanders through Paris, going from one gay encounter to another, as if to forget about his sorrow.

This film is a real document: it is a report taken on the spot, without any special effects. All of the images that are presented to you are rigorously authentic. We warn sensitive people about the violence of certain scenes. Why does one of the protagonists hide his face behind a mask?

This film is a real document: it is a report taken on the spot, without any special effects. All of the images that are presented to you are rigorously authentic. We warn sensitive people about the violence of certain scenes. Why does one of the protagonists hide his face behind a mask?

This film is a real document: it is a report taken on the spot, without any special effects. All of the images that are presented to you are rigorously authentic. We warn sensitive people about the violence of certain scenes. Why does one of the protagonists hide his face behind a mask?

Johan details the director's quest for an actor to play his titular lover, the real deal having been incarcerated just prior to shooting on charges of petty theft.

While touring Paris, Thomas is cruised by an older man in a cafe, and then goes to the museum (after the guard has left and locked up). A handsome statue comes to life who embraces and kisses Thomas passionately before leading him into another room, instructing him on his innermost desires.

Seeing an opportunity to make a financial recovery for the family, a nobleman attempts to wed his son to his wealthy friend's daughter. His plan is to send the boy for a cruise on the SS France with the prospective female. Upon arriving to meet the lovely girl, the young man switches places with his valet. Unbeknownst to him, however, is the fact that the girl has pulled a similar deception. Though Jean-Marc Ripert is responsible for much of the cinematography in this New Wave comedy, it is Francois Reichenbach who handled the camera for many of the ocean-liner scenes.