Buddies exists as much as a cinematic work as a rebuke to Hollywood’s institutional silence. Although newspapers such as The New York Times were reporting on the disease as early as 1981, many studio executives treated AIDS as a taboo subject — in part because the earliest U.S. victims were gay or bisexual men — and the industry’s long-standing discomfort with on-screen homosexuality translated into near-total avoidance of the pandemic in mainstream film. Bressan’s film (and the contemporaneous made-for-TV An Early Frost, also 1985) were exceptions shown largely in urban and art-house venues; it would not be until Longtime Companion (1989) that a wider theatrical release confronted AIDS. Cultural historians such as Vito Russo later catalogued how Hollywood’s prudishness and commercial calculations amount to a form of institutional hypocrisy, a slow-motion censorship that shaped public visibility and public discourse about the disease throughout the 1980s. Buddies was therefore not just an early AIDS picture but an act of resistance against an industry that left the topic to the margins.
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