Louis Hofmann, Sabine Timoteo, Jannik Schümann, Svenja Jung, Ada Philine Stappenbeck, Sascha Alexander Geršak, Inka Friedrich, Nina Proll, Thomas Goritzki, Clemens Rehbeinīased on the novel The Center of the World by Andreas SteinhöfelĪnaleigh Tipton, Jakob Cedergren, Marta Gastini Sandrine Kiberlain, Kacey Mottet Klein, Corentin Fila, Alexis LoretĮrika Linder, Natalie Krill, Sebastian Pigott, Mayko Nguyen
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Owen Campbell, Charlie Heaton, Amandla Stenberg, John Scurti, Scott Cohen, Mary Stuart Masterson Michelle Rodriguez, Sigourney Weaver, Tony Shalhoub, Anthony LaPaglia, Terry Chen, Paul McGillion, Caitlin Gerard, Zak Santiago (“Boys in the Sand” was seen widely overseas.) He took the stage to applause.Antoine Olivier Pilon, Lou-Pascal Tremblay, Sophie Nélisse
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Poole was introduced to a packed auditorium as an unsung hero who had helped transform the Pines into an international destination. Their group included a man who lived in a summer house that had been used in the film. Poole, then 74, was invited to the Pines for a screening of his classic, although some gay residents there weren’t thrilled about it.Ī local film festival, responding to their complaints about the X-rated content, had declined to show the movie, so an opposing faction of residents organized their own event. New York art house theaters like Metrograph and Quad Cinema screened “Boys in the Sand.” A documentary, “I Always Said Yes: The Many Lives of Wakefield Poole,” directed by Jim Tushinski, came out in 2016. Poole grew older, enthusiasts of gay history and vintage pornography collectors began revisiting his work. He retired in his 60s and moved back to Jacksonville, where he died in a nursing home, a niece, Terry Waters, said. Poole needed to find a new way to make a paycheck in New York, so he studied at the French Culinary Institute and later landed a job in food services for Calvin Klein. He turned to moviemaking in the 1960s, captivated by the experimental films of Andy Warhol.Īs he pulled away from pornography in the mid-1980s, Mr. Trying for a comeback, he released “ Boys in the Sand II” in 1984, but it didn’t make a splash. Poole eventually moved back to New York, holing himself up in a cold-water flat in Chelsea to break his cocaine addiction. He soon directed a documentary-like film, “ Take One,” in which he interviewed men about their carnal fantasies and had them act them out on camera, engaging two brothers in one notorious moment. Poole started afresh in San Francisco, which had become an epicenter of the gay rights movement, although his troubles only worsened there: He broke up with his longtime partner, and he became addicted to freebasing cocaine.
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Then came “ Wakefield Poole’s Bible!,” a creatively ambitious soft-porn movie that reimagined tales from the Old Testament, but it flopped.įrustrated with its failure, Mr. Poole’s next hit, “ Bijou,” followed a construction worker who stumbles on an invitation to a private club, where he joins a psychedelic bathhouse-style orgy.
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It was a communal experience by necessity, and you had to be seen in your seat. “This was a time when you had to leave your home to see pornography. “ Wakefield was determined to elevate the gay porn genre,” Michael Musto, the longtime Village Voice writer, said in a phone interview. The year after “Boys” appeared, the landmark film “ Deep Throat” was released, commencing a golden age of American pornography.