Gregg Araki is an independent filmmaker who has made a slew of cult films centered on members of the LGBTQIA+ community since the 1990s. Heck, his Teenage Apocalypse trilogy is available in high definition thanks to a wonderful Criterion release. So it shouldn’t come as much of a shock to learn that writer-director Mark Schwab has created a love letter, of sorts, to Araki and the man’s work with Cutaways. The filmmaker even went so far as to hire Araki’s muse, James Duval, who, it should be noted, hasn’t aged in 30 years and is the nicest guy on the planet.
This drama centers on washed-up director Evan (Silas Kade). After winning several awards, including at Sundance, a scandal ruined his career. Now, the man lives in a warehouse that doubles as a sound stage for the only work he can still get: directing gay porn for slimy producer Sammy (Duval). One of the actors, Andy (Fernando Jose), shows up early for a quick shower and to get ready for the day’s shooting. Unfortunately, the other actor, Ryan (Diogo Hausen), is running late due to his day job.
To bide the time, Evan shoots Andy’s solo scenes, and once Ryan arrives, they go at it with vigor. That is when Sammy arrives with the money everyone is owed, as well as a fun little something-something for Andy. The actor takes the mixture up the nose and dies. This sends Ryan and Sammy into overdrive to deal with the situation, while Evan focuses solely on how it affects his film. Trace (Jason Caceres), the producer’s latest boy toy, came with Sammy and is fascinated by all the chaos and what goes into making a film, even a porno. Will the filmmakers do the right thing and report the dead body? Why is Evan avoiding calls from Gregg Araki’s agent?
“The actor takes the mixture up the nose and dies. This sends Ryan and Sammy into overdrive to deal with the situation, while Evan focuses solely on how it affects his film.”
Cutaways begins as a look at how a despondent artist with nothing left to lose copes. Then, right before the audience’s eyes, it morphs into a commentary on the true meaning of art and how some will stop at nothing to achieve that ideal. The shift in tone goes from lightly comedic drama to nearly thriller territory. When Evan explains to Trace what the “flow” is, it is almost scary yet relatable. This is because Schwab choreographs the story with a grounded eye, so everything feels connected and realistic.
It certainly helps that the acting is unbelievably great. Kade is so good as the sad-sack who feels sorry for himself that it feels like he isn’t even acting. Then the turn hits, and the man becomes larger than the screen, filling all empty space with his raw intensity. Duval plays a slimeball with the same charisma and energy he brings to every role he’s had. Who knew he could play nasty so well? His speech about “big decisions” is a great monologue, delivered with the right amount of anger, frustration, and intelligence. Hausen is hilarious, playing dumb perfectly and never missing a comedic beat. Jose is fun, wild, and likable, even if the character is written to be a little annoying at times.
Cutaways is a treatise on the art of filmmaking and a love letter to cult-favorite filmmaker Gregg Araki. It works brilliantly on both fronts, as the direction allows the story’s curves to feel authentic and earned. The engaging plot is led by terrific actors, each of whom brings their respective roles to life with humor, pathos, and realism.
For more information on Cutaways, visit the official Diamond In The Rough Films site.
"…a commentary on the true meaning of art and how some will stop at nothing to achieve that ideal."
