Head On (1998)

Culture clash in modern-day Australia, as a 19-year-old Greek named Ari, handsome but feckless--and prone to snorting and shooting drugs--rebels against his hot-tempered papa, a man of values and culture but perhaps stuck in the past. Ari's inner-anger is all-encompassing; he lashes out at his family, at his diverse neighborhood (which appears to be an otherwise peaceful agglomeration of working-class Asians and middle easterners) and at girls who find him attractive. Ari's father is shown as disappointed with his wife and children, but even in the flashbacks there aren't any clues as to what would've made this man happy (he and his wife protested for Greek rights, but does he want his son to continue this fight--and what would the fight be about, the same issues the father fought for?). As Ari, Alex Dimitriades struts and preens like the next John Travolta (in fact, some of the home front squabbles, particularly one around the table, seem lifted from "Saturday Night Fever"). It's a risky role for the actor, who must keep up a perpetually ill-mannered demeanor, complete with lusty, angry homosexual activities which Ari keeps secret (his father hates 'poofters'); yet, Dimitriades, self-enamored and intense, makes the part work for himself and the audience. He's helped a great deal by director Ana Kokkinos, who also co-adapted the screenplay from Christos Tsiolkas's novel "Loaded" with Andrew Bovell and Mira Robertson. Kokkinos keeps the camera busy and free-flowing, although she stumbles when attempting artiness, which in this case is akin to dreariness. Some marvelous moments emerge in what could have been just another coming-of-age melodrama. **1/2 from ****

I don't consider this a very good film in the conventional sense, but it is certainly provocative and memorable. (Apparently it was not well received by the Greek-Aussie community, and the star of the film did not become a star). Note: Don't confuse this with a film by a Turkish-German director, Head-On (2004), also good but very different. Back to Aussie film: My judgment is undoubtedly clouded by my attraction to main character Ari, a second-generation Greek-Aussie who is angry and has a lot of issues (one of them being heavy drug use). So what do I like besides gorgeous Ari? Several times in the film he dances traditional Greek folk dances and he is most mesmerizing in these scenes. One of the first such dances is with his father with whom he has a mostly bad relationship. Ari's dancing expresses the conflicts and contradictions of the film and of course his own. (The film is largely seen through Ari's ineffable eyes.) The ending: The film seems to be careening relentlessly towards tragedy but it doesn't quite go there. It ends on an ambiguous note. Ever angry, but defiant too. And dancing.

Clearly this movie is not for everyone. If you are not able to identify with the characters, the whole thing will just fall flat.I felt it's a very honest attempt and with sincere performances. The main protagonist of the movie carries the entire movie on his shoulders with such an ease.This movie does not give any message nor judges anyone...I felt like I got a glimpse of what's going in the few people's life. The mood is dark, but it's entertaining. Kudos to the entire cast, director, writer and producer for giving us this movie.I am giving 10 for this movie.

Heads up to HEADS ON: this is a story of the agonies of isolation self-induced by a tragically sexually confused young man. Few directors have the courage to write and present the truly dark side of sexuality and Ana Kokkinos deserves a tremendous amount of respect for daring to go where this film takes us.Ari (Alex Dimitriades) is a handsome, sensual young Greek man living with his proud parents and sister in Australia. They are part of a Greek conclave that holds to old country traditions: every male must marry a Greek girl and 'then he can do anything he wants' according to Ari's mother. Ari is gay but cannot fully accept his lifestyle, preferring to have dangerous sexual assignations in the filthy alleys of his city. He pals around with Johnny/Toula (Paul Capsis), his transsexual cousin, but avoids contact with him in public. Ari avoids life's realities (he has no job, he is financially dependent on his parents, he cannot relate to his father's demands for his life, etc) through extensive use of drugs and macho confrontations. His life is in a downhill spiral from which he is unable to escape. He attempts a heterosexual encounter but fails miserably. Even when the possibility of a real gay relationship is offered by handsome and masculine Sean (Julian Garner) he is unable to cope and destroys that blink of salvage. Ari's only devotion seems to be to his sister and his mother, neither of whom can extend a long enough arm to pull him from his quicksand life. Ari simply cannot cope with who he truly is.The acting in this fine film is excellent. The camera work by Jaems Grant is both artistically creative and successful in capturing the atmosphere of the story. Scenes that are edgy are handled with realism but never falter into the sensationalism range. Both Alex Demetriades and Paul Capsis give extraordinary portrayals of very tough roles. This is not a film for the squeamish, but it is a fine portrait of gay life in Australia and especially in the Greek community there. Grady Harp