The year is 1985, San Francisco, and the widespread news of Rock Hudson’s illness has shaken the gay community, prompting many to confront their vulnerability to a dangerous new disease. This backdrop affects a professional dance troupe where “Frankie” (Scott Marlowe) and “Todd” (Matthew Risch) are employed. The more seasoned Todd openly admits he earns extra money through other pursuits, which makes Frankie uneasy, leading him to maintain distance initially. As an important performance approaches, however, they begin to connect, allowing for a glimpse into their personalities. Beyond the fact that both actors and several others in the cast are skilled dancers, Marlowe delivers a noteworthy portrayal of a man accustomed to frequent sexual encounters who is now deeply worried about potential infection. The film shows some friends advocating for condoms, others disregarding precautions, and still others choosing abstinence, raising the question of responsible behavior. Medical understanding of HIV is limited at this point; it’s only with the development of a blood test that people can be informed of their status. Is it preferable to know, even without treatment options, or would remaining unaware be better? The tests themselves may not simply involve taking a sample. Ultimately, the era and setting, along with the dancing, carry more weight than the frequently unremarkable script, and Marlowe does well as his character displays some of the anxieties felt by many gay men during a period defined by fear and stigma. The soundtrack includes music from Bronski Beat, notably “Smalltown Boy,” whose lyrics serve as a reminder that being gay presented challenges even before this crisis. The film steers clear of excessive sentimentality or romance, showcasing stylish dance sequences, and functions effectively as a snapshot of a frightening time in 1985—making it worthwhile to watch for ninety minutes.

Source on TMDB