The small gauge format was for a long time the main medium in underground filmmaking, especially in the field of gay and queer cinema. Colours define classes, be it the bourgeois class, business people or subcultural groups. The gay community in particular has always been characterised by its very own use of colours. In Puce Moment and Pink Narcissus this use of colours is transferred congenially into the medium of film. Therefore these films can enchant us with the genuine colour characteristics of a very influential underground movement, whose aesthetics and way of living ultimately found itself in the centre of society. The focus in the queer community was for a long time mainly on the gay men and not on the gay women. The Colour of Love by Peggy Ahwesh reminds us of that fact and literally deconstructs the spotlight on masculinity in this subculture.

Karl Wratschko