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This musical set at a summer camp for young singers, dancers, actors and musicians tells the story of Bert Hanley, a former Broadway songwriter who has to work at the camp because his career has burnt out after a series of flops. Inspired by the kids at the camp, however, Bert sees his chance to find success again by recruiting them to put together a new production. The long summer days at Camp Ovation are ripe with life lessons, fast friendships, jealousies and antics, along with the shocking discovery that there is an honest-to-goodness straight boy in the bunch.
Avery has finally gotten his life back on track. A competitive swimmer, he had to drop out of college to support his girlfriend, Krista, and their son, Jordan. He's back on the swim meet circuit, and starting to have some success. When he's approached by a college scout after winning his latest race, he goes out to celebrate with his friends, Cashmere and Dre. In an instant, Avery's luck is about to run out...
The 1970s was an extraordinary time of rebellion, of questioning every accepted idea: political activism, hedonism, protests, the sexual revolution, the women's movement, the civil rights movement, the music revolution, rage and liberation. Every standard by which we set our social and cultural clocks was either turned inside out or thrown away completely and reinvented. For American cinema, the 1970s was an era during which a new generation of filmmakers created work for a new kind of audience--moviegoers who were hungry for stories that reflected their own experiences and who were turning their backs on aged old studio formulas. As a result, emerging filmmakers influenced by foreign directors such as Godard, Kurasowa and Fellini coupled with the social climate and a struggling studio system, converged to create a new kind of moviemaking. Through their choice of material, filmmakers such as Francis Ford Coppola, Martin Scorsese, Robert Altman, Peter Bogdonovich, William Friedkin, Roger Corman and Paul Schrader revolutionized mainstream movies and for the first time personal visions were coming out of the studio system.
"XX/XY" is a tale about a trio composed of a young artist, Coles, and two Sarah Lawrence undergrads, Sam and Thea, who, on the night they meet, tread briefly on the wild side of sexual lust and drunken experimentation. As friends and, at some points, alternately couples and/or lovers, the three carry on a relationship that ends dramatically. Quite by accident, the relationship is reborn a decade later, and passionate desires are significantly reopened.
Esther Gold (Glenn Close) devotes herself to her comatose, bedridden son, and expresses love for her daughter by trying to win her a car in a last-one-standing radio contest. Jim Train (Dermot Mulroney) questions his value as a man when he is passed over for promotion; Annette Jenning (Patricia Clarkson) tries to keep her family intact in the wake of her divorce; and Helen Christianson (Mary Kay Place) looks for fun and inspiration in her banal life. Despair and humor are delicately balanced in this film that examines people's investment in things that are more predictable, if less satisfying, than their relationships with other people.