• Genre: Documentary
  • Release Date: 06/13/2008
  • Running Time: 90 mins
  • Director: Tina Mascara, Guido Santi
  • Cast:
  • Producer: Julia Alexander, Tina Mascara, Guido Santi, James White
  • Writer:
  • Distributor: Zeitgeist Films
  • Offical Site: Click Here
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Box Office

  1. Tropic Thunder, 14.6 million, 86.9 million
  2. The Dark Knight, 26.1 million, 441.6 million
  3. Pineapple Express, 23.2 million, 41.3 million
  4. Babylon A.D., 11.5 million, 11.5 million
  5. The Dark Knight, 11.1 million, 504.8 million
  6. The Mummy: Tomb of the Dragon Emperor, 16.5 million, 71.0 million
  7. The House Bunny, 10.2 million, 29.7 million
  8. The Sisterhood of the Traveling Pants 2, 10.7 million, 19.6 million
  9. Traitor, 10.0 million, 11.5 million
  10. Step Brothers, 9.1 million, 81.1 million
  11. Death Race, 7.9 million, 24.7 million
  12. Mamma Mia!, 8.2 million, 104.1 million
  13. Disaster Movie, 6.9 million, 6.9 million
  14. Journey to the Center of the Earth, 4.9 million, 81.8 million
  15. Hancock, 3.3 million, 221.7 million
  16. Mamma Mia!, 5.4 million, 132.5 million
  17. WALL-E, 3.1 million, 210.2 million
  18. Pineapple Express, 4.4 million, 80.8 million
  19. Swing Vote, 3.1 million, 12.0 million
  20. Star Wars: The Clone Wars, 3.8 million, 30.7 million
Movie Title, Weekly Earnings, Total Earnings

Chris & Don: A Love Story

Tina Mascara and Guido Santi’s Chris & Don: A Love Story is a charming, illuminating portrait of the complex and storied queer romance—one lasting three decades—between literary icon Christopher Isherwood and artist Don Bachardy, who met on a Santa Monica beach in 1952, when Bachardy was a teenager and Isherwood already 30 years his senior. Quilted from black-and-white home-movie clips, animated sequences that bring to life the duo’s correspondence and pet names, and original footage of the now-elderly Bachardy going about his daily routine, Chris & Don uses standard documentary-film techniques to celebrate three entities—Isherwood, Bachardy, and their relationship—that flouted all the rules. There was an extraordinary vulnerability in their union, matched only by an extraordinary faith in their bond. The relationship contained elements of the parent/child hierarchy (with the roles flip-flopping back and forth over time), but it was also an erotic quest that expanded to include other lovers—especially as Bachardy matured into his own man—then retreated back to monogamous form again (at least emotionally). And as Bachardy grew into his own creativity, theirs became a conversation between artists, too. Gays and straights can glean some lessons from Isherwood and Bachardy’s example: Make your own rules, set your own terms for connection, and be willing to let them evolve, even as you and your partner (hopefully) do. — Ernest Hardy

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