by Douglas Messerli
Charles Gould (screenplay), Matt Porter (director) Flex / 2020 [16 minutes]
20
years later he (now played by Charles Gould) seems
to be quite settled down, however, in a heterosexual relationship with Michelle
(Ellington Wells), his girlfriend with whom he shares a small house. Suddenly,
however, she announces to him that she’s gotten into the three-year teaching
program in Spain and she wants to breakup. Despite a momentary collapse,
Charles takes the situation on the chin, so to speak, enjoys pizza in bed—the
one thing Michelle declared would out of bounds even her departure—and, spurred
on by his memory of the Bowflex Guy (Max Aria), decides to change his dating
app from female to male.
A
young man, Alex (Charles Rogers), looking quite similar to ill-groomed to our central character,
shows up to his front door, abides even Charles’ weak imitations of Jerry
Seinfeld, and proceeds to fuck him, Charles taking in the new experience with
some obvious delight, if also with a little pain in the butt.
Although I find it hard to believe any teenager spends his time with his
bro discussing the attributes of Carey and Katie Holmes and that any
heterosexual male can realize he’s a bisexual on the spin of a dime, this film
certainly does make it clear that bisexuality is a valid possibility for many a
lonely man.
Based on his own life experiences, Charles Gould argues that he’s fought
most of his life to prove to other gays that there is such a thing as
bisexuality, he being exhibit A.
Not a profound film in any sense, Flex is one of an increasing
number of short films and videos—bisexual singer Doug Locke’s music video #ThisCouldBeUS
(2014) and Carolina Quinteros’ Atracción (Male Affection) of 2021—that
focuses on bisexuality.
Los Angeles, April 13, 2023
Reprinted from World Cinema Review (April
2023).


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