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In this gay holiday setting, there’s barely even a straight person to be shocked by the hilariously naughty dialogue (“Why would you say hello to someone you don’t want to fuck?”), the cruising through the Meat Rack or the dark-room mishaps. Based on Jane Austen’s Pride and Prejudice, the obstacles to love are, well, pride and prejudice, particularly the human habits of self-doubt and misreading other people’s desires. It’s also a fish-out-of-water story with a sassy band of brunch waiters dropped amid the monied (and mostly white) body fascists of New York gay society.
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While Ahn’s first two features, Spa Night and Driveways, could be described as artsy festival faves, Fire Island is a snappy carnival of gay friendship, eye candy and saucy commentary on modern queer life. “I knew I smelled some bottoms!” declares Cho’s character, Erin, when her gaggle of gays arrives to spend a week in her Fire Island beach home.
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Streaming on Hulu/Disney+ starting in June, it’s a major studio release that, like its characters, doesn’t care what straight people think of it. Did you have to adapt your directing style? I talked to Ahn while he was in New York doing a final edit of the film.įire Island is definitely more, um, rambunctious than your first two films. I’m always trying to find the emotional truth of the scene, and I don’t think something is funny or moving unless it feels authentic. So in a grand philosophical sense, I don’t think I did. But on a micro level – directing comedy is super hard. Sometimes the difference between a joke working and a joke not working is a quick reaction shot or a couple of frames in the edit. When I think about filmmakers that I really love, like Ang Lee, he hops genres and tries different things, which is what I really hope to do in my career. The film is a bit racy and it’s certainly blunt about casual sex.