Twink

Absolutely and positively of no value. Horrible everything. Imagine your worst nightmare of sitting in a room with a bitchy, indulgent, little cry baby. What a waste plastic to press this lump of coal.

Twink, is a fly-on-the-wall documentary, loosely styled on ITV’s 7 Up series, where you have the voice of the interviewer, the object of your attention, the interviewee (Kaden / Quinn) and you the viewer, the eyes of the camera. The opening sequence, shows the squalor that Quinn is currently living in, with lots of evidence of drink and drug abuse, which is confirmed later on in the film. Kaden Daydream (the porn industry name of Quinn), shows a strong front that he has got his “s*** together” as the interviewer starts to probe with questions exploring how he got into the Porn Industry and especially why he left. But even though Quinn, shows that he is strong, you can see the emotional pain in his eyes and face which hints at the abuse that he has suffered during this time. One of Quinn’s defence mechanisms is to shock the person who he sees as a threat. Particularly when he perceives them getting close to a truth that he is neither willing to face nor able to deal with. Particularly when you as the viewer can clearly see that abuse has taken place. You, as the viewer also find yourself wishing Quinn to open up and talk about it, just to start the healing process and it becomes almost painful to watch every time he brings the shutters down on you. Quinn’s description of how he was at the bottom of the food chain and everybody else was making money of the back of his “works” was hard and uncomfortable to listen to, as it shadowed a number of professions in life that do exactly the same thing, not just the sex industry. Quinn’s convincing and damning narrative on how poor the “actors” really are, as the “glamorous” lifestyle that they are provided for, which is paid for by “others” was the only real payment and the moment that you start to lose your “Twink” looks, is the moment that nobody wants to touch you. Quinn clearly feels hard done by, as everybody above him has made so much money off the back of his labours, whilst he has been left in the gutter. It is at this point that you start to see another character appear, the character that is Kaden Daydream. Here, you start to feel that this heart-breaking young man actually has some deep-seated psychological problems. You see “Kaden” constantly trying to turn the tables on the interviewer, as the film starts to approach the root cause of his pain. Again, you see “Kaden” reverting to type, doing his utmost to shock and manoeuvre the interviewer into a position so he can end the interview and therefore the self-revelations. You also see the true conflict as control of Quinn passes back and forth, just like an emotional tug of war and most shockingly of all to me as a viewer, was the total self-loathing that Kaden/Quinn has for himself. The big reveal as to what happened to Quinn is when filming returns and they are sitting outside, next to a camp-fire and Quinn reads some poetry. The story that is being relayed in the poetry is clearly what has happened to Quinn. The “Twinky Long Legs” poem is upsetting to listen to, but of anything that Quinn says during this film, he is speaking from the heart when he reads that poem. Although, to me, it was shocking when he burned the pages afterwards. The interviewer picks up on things that have happened during Quinn’s childhood and when he starts to question him you see Kaden make an appearance again and you also see that Quinn’s fall from grace in “that” industry has left him associating company / companionship with sex. It is deeply upsetting to see the Kaden’s character make a dominant return at the end, particularly when the body dimorphism facet of his personality appears and the resultant conflict between what he feels he should look like and what he actually looks like (bloody good looking and normal, in my opinion), result in so much blood. (SPOILER ALERT) It is as this point that I, as a viewer have to state that the film was spoilt for me. Any real documentary maker would not stand there, keep filming and allow the person to effectively kill himself, particularly with a homo-erotic gush of blood. I feel it would have been far more believable if the camera was left with Kaden/Quinn to do his lead out, to film that sequence for himself or if it was a drug & alcohol fuelled fantasy, that Kaden imagines, but later is seen asleep in his bed. But this is only my opinion, others will probably be happy with the ending. Overall though, we all deep down know that there is a dark and seedy element in the porn industry where people are used and abused, making other people rich, but when they have reached the end of their very short lived careers, they are abandoned as everyone has got what they want. Wade Radford’s acting is very, very realistic in this film and very scary in parts. I feel that this is Wade’s most important film to date and carries an important social message and commentary.

It was okay

STUPID STUPID STUPID WASTE OF MONEY

:-(, 2 stars

This is pretty cool. Not what I expected. In a good way tho.

Now 23 and reporting to have retired from the business, former male prostitute Quinn (Wade Radford) addresses an off-screen documentarian's (director Jason Impey) camera and tells the viewer that he began hustling for money in his teens, primarily making gay pornography under the alias Caden Daydream. The trouble was, he didn't always get paid for his efforts.Quinn lives a drunken, drugged-out existence in a hovel of a flat. His peeling bedroom wallpaper is covered in graffiti which clues us in to both the bitterness that swells inside Quinn, and the swipes that Radford and Impey are having against not only the marketing and digestion of modern media, but the sticky relationship between the filmmaker and his muse: the 'industry' will "rape you!", we're told right from the start.Impey (heard but never seen) points his camera unflinchingly at Quinn as he drinks spirits, utinates, smokes copiously and occasionally passes out. In-between, he coaxes anecdotes from his subject - the more sordid the better, he encourages him - and reasons that he aims to "dispel myths and rumours" about Quinn's former profession when the young buck challenges his motives.Stories of threesomes with hot European men ensue. Initially Quinn seems rather cocksure, his sneer suggesting a brassy refusal to analyse or regret anything that's gone before. But as the alcohol sinks deeper into his system and Impey's quizzing becomes more pressing, the cracks appear: Quinn is suddenly visibly haunted by some of the things he's seen.This leads to him turning the tables on his inquisitor at one point, before building to a harrowing, unexpected finale that oddly recalls Nekromantik ...The film is short - 68 minutes - and, in essence, consists of the above content for the bulk of its duration. It's a podium for the musings, rants and despairs of the lead character (and possibly the artist portraying him?) which covers everything from the lie of reality TV and the futility of vanity to the heartbreak of family and how we never truly know who in life is exploiting who.The script is tight, intelligent and thought-provoking in equal measures, while being sassy enough to offer regular bouts of humour and expletive-riddled shock descriptions.While Impey does his best behind the camera to keep the documentary questions flowing, this really is Radford's show all the way. A natural actor, he delivers another sincere performance brimming with fury and bitterness and yet always possesses just enough of a defiant smirk, a mischievous glint in the eye, to suggest a hint of optimism required to prevent this from being overly bleak fare.The minimalist design of the film's look - the filthy, unkempt flat with angry slogans scrawled on the walls in Magic Marker - works to surprising effect. Another asset is Charlie Armour's melancholic piano score. Impey uses it sparsely for maximum impact.Banned in the UK, it's good to see this troubling film get an uncut DVD release in America.Stu Willis

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Tries hard to be hard edged social commentary bit doesn't work as film drama. Don't bother.