As a devoted cinephile with a penchant for stories that resonate deeply and challenge societal norms, “Fox Chase Boy” left an indelible mark on my heart. Gerad Argeros’ courage to strip down both figuratively and literally to share his harrowing tale of childhood sexual abuse is nothing short of commendable. His journey, chronicled by Kaya Dillon, offers a raw, unfiltered glimpse into the life of a survivor who refuses to let the silence perpetuate the cycle of abuse.
During Gerad Argeros’ debut performance, which later turned into the movie “Fox Chase Boy”, it’s safe to assume that even hardened Philly spectators were taken aback by his decision to perform without any clothes on.
He shared with them, growing more impassioned and insistent, “This pertains to my physical self. The recollection of past events, deeply ingrained – it resides within you, in your bodily experiences.
At present, Argeros has evolved his idea into a short film with ambitions for a future full-length movie or series. Initially, he was unsure about how to tell his tale, he admits. Therefore, the removal of established norms and clothing seemed like wiping clean a blank canvas.
Argeros stated that he aimed to avoid viewers bringing preconceived notions about what a child sexual abuse survivor might be like, as he narrated his story.
In the movie being shown at the Ji.hlava International Documentary Film Festival, he explains that the topic is trauma. He clarifies that he’s not trying to undermine his 97-year-old grandmother’s beliefs about Catholicism. Instead, he wants it understood that all the terrible events took place.
As a dedicated film enthusiast, I once belonged to a group of hundreds, now estimated, who endured sexual abuse as altar boys and cross bearers in Philadelphia parishes. Regrettably, the exact number remains elusive since many victims have remained silent. However, the church has acknowledged this troubling issue, and in certain cases, they’ve made substantial financial reparations through settlements.
As a movie enthusiast, I found myself compelled to share my story following the release of the 2015 film “Spotlight,” which brought this tale into the national limelight. Initially, I focused on finding the right words to discuss my experiences at events such as The Moth and open mic nights held in various venues across New York City.
Kaya Dillon, both cinematographer and producing partner, documented the process of Argeros honing his performance. Argeros admitted he had no prior experience in filmmaking, expressing “We didn’t have a clue what we were doing,” but noticed the emotional response from audiences, with tears and embraces, indicating that his story was deeply affecting them.
Recognizing the potential, he understood that it was essential to showcase his work to a broader audience through screenings. Dillon, an accomplished cinematographer with experience in shows like “Homicide Hunter” and numerous hit comedies, encountered Argeros at their local schoolground where their sons played sports together.
They swiftly agreed on the task of assembling the “Fox Chase Boy” document, a title that honored the working-class district where Argeros spent his childhood, much like numerous others residing there, hailing from a traditional religious household.
He claims that it’s through silence that they gain an advantage,” he states. However, discussing matters so shocking that they usually drive crowds away en masse can be challenging. To tackle this conundrum, he chose a couple of methods: humor and raw truthfulness.
He inquired on stage about his own show in the movie, “What does Gerry Argeros’ show focus on?” To which someone responded, “I’m not sure myself, but he often discusses being molested as a child. However, it’s presented in a humorous manner, not the traumatic experience itself, but other aspects of it.
Captured reactions from the audience showcasing their emotional breakdowns, mirroring the impact. Similarly, attendees at the Ji.hlava festival reacted in the same manner, eagerly wanting to speak with the filmmakers following the showing, with one individual even sharing a personal narrative of comparable mistreatment.
Argeros’ tale kicks off with a foreboding tone in “Fox Chase Boy,” where the author paints a picture of his tough, no-nonsense neighborhood as one where folks are busy working instead of wasting time.
In this town, the nearly hopeless football team, the Eagles from the NFL, is cherished just as deeply as a church. This community also holds great importance for young lads who take on the role of assisting in religious services, much like how they would be their family’s source of pride by serving as altar servers.
One day, a striking black Volvo, causing quite a stir among the local children, pulls into town. The car’s horn blares the “Dukes of Hazard” tune, instantly attracting a crowd. Argeros found himself in the passenger seat, sharing the space with Father James Brzyski, who allowed him to sound the horn.
“We didn’t know what a Volvo was,” says Argeros in his film, with signature comic timing.
Three classmates of Argeros, who had likewise been victims of sexual abuse and rape at the hands of a priest, ultimately did not live long lives, according to Argeros.
But he feels like he’s brought them all along to his world premiere screening in Ji.hlava, he says. And the word is spreading, with an upcoming screening in DOC NYC’s main competition and others in Washington D.C. coming up, along with interest from platforms.
A key ambition for “Fox Chase Boy” is to keep the memory of those who experienced it alive – so they don’t slip into obscurity or become unseen. Argeros reveals the names and images of his classmates in the movie: Jamie Cunningham, John Delaney, and Jimmy Spoerl.
He expresses, “I’m keeping the loved ones of those individuals close to me today.” “A big thank you goes out to all of you who were there for me when I needed support in sharing my tale. This narrative belongs to each one of you as well. United we stand, Fox Chase Boys.
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2024-10-28 18:21