5/5 great personal impact
  by lonelyboy (Florida, USA)
very familiar with the situation of Kees during my youth in The Netherlands,its almost too emotional for me to watch .....Thanks to God i am still alive.


5/5 Which hour will be your last?
  by Darien Wells (Tulsa, Oklahoma USA)
This film is not exactly what I expected, but even though I was a little disappointed, I liked the film. It's the story of a young gay man named Kees (the adorable Geert Hunserts) who is bullied by his all boy dutch school mates for being gay. He sets out to lure the ringleader of his bullies for a little one-on-one. His aim is to make Charel either love him or fight him. Hunserts give a shining performance and shows off a little more of his talents as well in a locker room scene. Great casting, superb acting, unusual plot but it will hold your attention. I could have written a better ending but all in all, I liked it and highly recommend it.

1/5 There is NO English audio track. It is entirely in Swedish
  by ardar88 (Falls Church, VA USA)
This movie is entirely in Swedish with English subtitles. It is incorrectly listed as havng an English audio track.

3/5 Not for the faint of heart!
  by Wendel Kirkbride (Holladay, UT United States)
Good video, good drama but very VERY disturbing!

You want the "nitty gritty" of gay adolescents? This is the video to add.

3/5 Low-key drama rewards patience
  by Libretio

TO PLAY OR TO DIE
[Spelen of Sterven]

(Netherlands - 1990)

Aspect ratio: 1.66:1
Theatrical soundtrack: Mono

Frank Krom's impressively doom-laden Dutch drama - based on a short story by Anna Blaman, and running a mere 49 minutes - first appeared on VHS along with two other gay shorts under the umbrella title BOYS ON FILM VOL. 2., before being released on DVD by indie distributor Water Bearer. The film is a grim, unyielding examination of teenage emotions, played out against the stark backdrop of a Dutch boys' school.

Krom's screenplay focuses on the plight of Kees (Geert Hunaerts), a bright, handsome kid, crippled by shyness, whose life is devastated by a group of school bullies. Nevertheless, Kees is attracted to the ringleader Charel (Tjebbo Gerritsma), a beautiful thug whose macho posturing is little more than a show for his like-minded circle of friends. Kees invites him back to his (Kees') home when his parents are away, ostensibly to take revenge and seduce the older boy, but Charel's inability to drop the pretence and succumb to Kees' infatuation leads to a painful conclusion for them both. Or does it?

Beautifully photographed in muted colors by Nils Post (an accomplished cinematographer who also shot the highly controversial FOR A LOST SOLDIER in 1992), the film takes place in an emotionally desolate world where the characters are unable to connect with one another in any kind of meaningful context. Gerritsma and Hunaerts are superb as tormentor and tormented, respectively, with Hunaerts in particular giving a truly committed performance, especially towards the end of the film during a moment of (non-explicit, non-salacious) sexual candor.

TO PLAY OR TO DIE is NOT homophobic, as some have suggested; it's simply unwilling to play the Hollywood game of providing its viewers with easy answers and a neat resolution. Gay filmmakers have a responsibility to depict the broad range of experiences which affect their community, and that means confronting the harsh realities of their daily lives as well as their triumphs over adversity. Some gay men are driven to tragic extremes by circumstances beyond their control, and failure to address these issues on film would make for a very one-sided view of an extremely complex subject. As such, the film may not be a pleasant experience for some, but it dares to be bleak and uncompromising when others might have hidden behind wish-fulfilment fantasies. That's honesty, not homophobia.

In any event, Krom's rich visual style distinguishes the film from many of its American counterparts, and the expert editing (by Krom and Sander Vos) maintains a keen sense of rhythm amidst the slow-burning tensions inherent in the drama. Incredibly, Krom (who was once an assistant to Paul Verhoeven) doesn't appear to have directed anything since, and his subsequent involvement in filmmaking has been relegated to technical support only. That's a real shame, because TO PLAY OR TO DIE seemed to herald a bright new talent on the European movie scene, especially in light of the New Queer Cinema movement which emerged from the US shortly after this film was made, boosting the production of gay-themed movies on an international scale.