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Whilst it could have been to the film’s benefit to further comment on such, the mere fact it’s mentioned so openly is enough of a win.Īmongst queer community politics and nightclub orgies (yes, the film, whilst not overly graphic, doesn’t shy away from presenting its promiscuous sexual activity with a certain glee), there’s a series of duelling romances to be had. Such a horrid logline is one that affects the main quintet in some manner – Noah and Howie are Asian, Keegan and Luke air on the femme side, and Max is larger bodied (and black, too) – and though Booster’s script acknowledges its hurtful connotations, it is never viscerally explored for the sake of keeping the film comedic. It’s here in Booster’s commentary on image and status that the film gets alarmingly deep, making subtle nods on the very real issue of body dysmorphia within the community, as well as quite head-on tackling the impossibly cruel “catchphrase” of “No fats, no fems, no Asians” that so many gay “dating” apps advertise. Rom-com chaos ultimately ensues as Noah (our Elizabeth Bennett, for those noting) intends to play matchmaker for Howie (our Jane), or, at least, match his privates to another island-hopper, hoping that his continually self-doubting bestie will realise he’s far more of a catch than he gives himself credit for.
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don’t entirely fit the brief although, Booster, Rogers, and Matos are all deducted a point for being suitably in shape for considered “outsiders”. Fire Island, an impossibly gay village off the South Shore of Long Island, has long been claimed as the go-to spot for queer vacationing by the wealthy, enviably sculpted, and very, very white subsect of gay men. In a glorious take on Jane Austen’s classic Pride & Prejudice, Fire Island sets itself at the titular location for a week of intended debauchery for Noah (Booster) and his besties-cum-chosen family, Howie ( Bowen Yang), Luke ( Matt Rogers), Keegan ( Tomás Matos), and Max ( Torian Miller). Now, I’m really not trying to take this to an overtly serious place when the film at hand is such a well-constructed comedy, but it can’t be denied how important Fire Island is to so many community members – even if linked to a film that feels as if it could be so fluffy and lightly digestible. Of course, next to this being a film that will find its mass appeal with queer audiences, it’s written, directed, produced and fronted by men of Asian descent, a demographic so often undervalued and underrepresented in queer media.
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Whilst I’m certainly not suggesting that Fire Island won’t earn some crossover appeal with straight audiences – hell, I even saw this movie with a straight guy – queer audiences are sure to wholeheartedly embrace Joel Kim Booster‘s deliciously funny, at times savage comedy in a manner that’s entirely personal and significantly unique compared to general audiences.