Studio One Forever review – affectionate look back at LA’s legendary gay club

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Frequented by those looking for a refuge from homophobia, this documentary charts the history of the venue and the effort to save its cultural legacy ‘It used to be paradise. Now it’s a straight club.” The dismay is obvious when a bunch of former regulars at Studio One, the legendary West Hollywood gay club, take a tour of the venue in 2019. From 1974 until 1993, 9pm to 2am, seven nights a week, men packed the dancefloor of Studio One. “It was the happiest place on Earth,” remembers one. Looking at the photographs you can almost smell the sweat. One ex employee says that so many guys were taking poppers you could get a head-rush high simply by breathing in on the dance floor. The story of Studio One is told in this affectionate, nostalgic documentary. Film-maker Marc Saltarelli interviews men who were there and follows a campaign in 2019 to save the Studio One building – a former factory – from demolition. When it opened in 1974, homophobia was rife outside. Studio One was a place wh
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Timestalker review – Alice Lowe’s anti-romcom is a darkly hilarious spin through history

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The actor and film-maker’s ingenious comedy sees her play a gamut of characters who meet gory ends chasing a not-worth-it love interest

The Taoist philosopher Zhuangzi dreamed he was a butterfly – but couldn’t be sure if the butterfly wasn’t the one having the dream about him. Film-maker Alice Lowe dreams her way into a cosmically recurring persona in this likably chaotic, flawed comedy; she plays a woman who regenerates Blackadderishly throughout the years, from the 1680s to the 1980s, forever in love with the same man, forever destined to sacrifice herself for him, almost but not quite in possession of the knowledge that this guy is unworthy of her. At each stage, the incarnations of the past are perhaps dream-memories and the personae of the future are prophecies. Or … is she just very, very mad?

In 1688, Lowe is Agnes, a humble Scottish maidservant who is enamoured of a heretical preacher (Aneurin Barnard) who is about to be executed. In 1793, she is a poutingly bored noblewoman who conceives an erotic fascination for a dandy highwayman in the Adam Ant style, with the memorably annoying name of Alex O’Nine Ribbons (again Barnard). And in 1980, with leg-warmers and a frizzy hairstyle which makes her look like Barry Gibb or the Cowardly Lion, she plays a British woman in a drolly unconvincing-looking New York who has become a stalker-superfan of a new romantic pop star (Barnard once more). In addition, she is briefly to be seen as a magician’s assistant in Cleopatra costume in 1940 and even more briefly – almost subliminally – as some kind of Jane Eyre-ish schoolmarm in 1847 who is decapitated by a carriage wheel. (This last episode is so bafflingly fleeting that some of it must surely have been lost in the edit.)

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