Portrait of the Pines on Fire Island moves and shakes
Shot over two seasons at the genuinely legendary beach, Smith introduces nobody and simply launches into interviews with and observations of about a dozen or so residents of the beach community that has long served as refuge and secondary home to generations of gay men. The older boomer residents celebrate the arrival of a younger generation but also meditate on the friends lost to AIDS. The younger folks are largely there to party and it looks like the Gen X folks are doing all the work .
Smith creates a largely mellow hang-out doc, mixing the observational traditions of Frederick Wiseman with brief interviews with interesting men, who have been coming to the Pines for days or decades, all with roughly the same goal: to be unabashedly themselves. The film is not without tension: gay men of color have mixed feelings about the exclusivity of the mostly rich, white community. A few trans activists dot the landscape, one heading up the creation of a park and public water fountain honoring Marsha P. Johnson, a prime mover at the Stonewall uprising. And everyone is worried about the ongoing erosion of the beach in the tiny enclave, an erosion spurred by global climate change.
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