Publisher: Chernyat October 9, 2025
Upon this day of writing (Friday 8th August, 2025), I and my research companion were gratefully able to watch a series of short films from the 70s centering on the lives of queer people. Adam would be a title within this requested collection. This first and seemingly only directorial attempt by Paul Bugden explores the life of the titular Adam as played sympathetically by the unknown Wayne van Heekeren. Through Adam's eyes, we are guided through unfiltered scenarios exploring sexuality and gender expression. Most particularly pondering on the subjective fears and desires as a gay man. The pleasures of befriending other men in Sydney's night life and the fears of commitment being broken by an older gay lover. Even with it's clearly small budget, Adam is able to form a unique visual style. With the incorporation of black and white film and long lingering shots, the film is able to capture a looming sense of isolation and detachment that Adam experiences throughout the movie. In ways reminiscent of the atmospheric elements of Eraserhead. Especially with the subtly presented fantasy sequences which give a more personalized narrative to Adam's mind that the real world can not relate to. Even with its minimal dialogue, this film is able to say more than a thousand words. Mostly through its historically charming visuals of 70s Sydney. From the ashtray resting on Adam's lover's (Chris') chest to the light cutting through the Venetian blinds as Adam experiments with his gender presentation. All these facets greatly help to enhance the world that Adam resides in and navigates through. With its ambiguous narrative, Bugden's screenplay invites us to discuss the subjectivity of its themes rather than explaining it out loud. Within this near 40 minute journey is sequences with no defined meaning to them. From the encounter that Adam has with his co-worker amongst other men in the bathed darkness of a park or Adam's view of two men at a dingy pub as they sexually embrace each other. These vignettes of internal imagery provide enough ingredients for the viewers to mix to their own accord. Even as the film winds up, we are never left assured of Chris' faithfulness to Adam. Placed in a position to bypass Adam's own paranoia or be one with it. An incredible multi-layered narrative structure that can make many viewing expediences refreshing every time. It's directorial tailoring and unfiltered story arch would be enough to earn this short feature the praise it deserves. But a part of me is saddened to know that such a cinematic milestone for queer cinema is not readily available to the general public. It feels gravely criminal. It is of hope that the first Aussie film with a gay lead and a openly gay director is able to get more than the two pairs of eyes that gazed upon it today.