影片由Amanda Kramer执导，Amanda与Noel David Taylor共同操刀剧本，故事讲述一对新婚夫妇在20世纪50年代的曼哈顿目睹了一场谋杀案，成为了犯罪团伙追杀的目标，而这也唤醒了这对夫妇潜在的性别认同。该片目前在美国比尤特拍摄中。
Amanda Kramer - Please Baby Please (2022) USA
Newlyweds Suse and Arthur become the dangerous obsession of a greaser gang that awakens a sleeping quandary into the couple’s sexual identity. Please Baby Please. Kramer’s latest work is a bold, genre-defying examination of gender-fluidity, remixing 50s and 60s film tropes to reveal its seductive, explosive power as a mode of expression and identity. Won the grand jury prize for Outstanding US Narrative Feature at Outfest 2022 Looks great! BandSAboutMovies15 August 2022 Warning: Spoilers Amanda Kramer’s (Ladyworld) new film takes place in 1950s Manhattan - maybe not our version of that time and place, but a neon world of music and dance - where Arthur (Harry Melling) and Suze (Andrea Riseborough) - he’s a clarinetist, she’s a housewife - witness a murder committed by a gang of rough trade greasers in leather known as the Young Gents. That act of violence sparks previously unknown emotions and feelings of sexuality in both of them. “Everyone wants to be Stanley Kowalski,” Suze says at one point. This movie lives up to that promise, creating a world where the gang movies of the 1950s are real-life, complete with more fashion and queer content than any movie of that era would dare (well, sometimes in subtext). A film festival referred to this movie as “A Streetcar Named Desire by way of John Waters.” That’s a high mark to rise to but this movie goes for it. Kenneth Anger might be pleased to see that his influence continues, while certainly jealous of the budget. And oh wow - Demi Moore in a pantsuit, animal print coat and silver high heels, living in a blue fantasy world apartment as a kept woman? I absolutely adore this movie. It is so thoroughly, delightfully queer in every sense of the word. It so perfectly blends the cinematic influences it’s drawing from (obviously Anger and Fassbinder, but also cult camp classics like “Absolutely Beginners” and “Crimes of Passion”) while also being utterly singular. Andre Riseborough has been getting a lot of the attention for this movie, and she’s great in it, but Harry Melling is absolutely killing it in this film. He so inhabits Arthur’s internal struggles with his masculinity and sexuality in a way that feels startlingly authentic. The final dance sequence is my favorite moment from a movie this year, and maybe in the past few years. Absolute queer joy personified. This movie is “not for everyone,” but what percentage of cinema really is “for” anyone?（G5V.NET）
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