Though it might sound like five minutes of a Todd Solondz movie stretched to nearly 20 times that, Elliott Tuttle’s feature debut certainly goes the distance, even if its uncompromising nature will be too tough for mainstream consideration. But for braver audiences, notably those more used to Europe’s cinema of provocation, Blue Film speaks out loud about the unspeakable, featuring scenes that would leave even Gaspar Noé gasping. It helps that it’s a very deftly played two-hander, which allows the controversial premise to breathe, giving life and depth to both its characters. It could also do for newcomer Kieron Moore what Love is the Devil did for Daniel Craig, revealing him as a magnetic screen presence unafraid to address issues of masculinity and homosexuality.

The opening sequenc

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