(“Jonathan Agassi,” after all, is a pseudonym, a character.) In contrast, he does not like talking about his absentee homophobic father, to whom he refers by first name. It’s with her that he puts on pause his craving of being wanted and his desire to perform. She approves of his awards-show garments (harness, lace garters, heels) through the computer. She’s caring and supportive, albeit long distance. He Skype calls his mother from Berlin frequently, even as his stardom intensifies.
Agassi, now retired, shot to fame after appearing in the Lucas Entertainment gay porn film “Men of Israel” in 2009, and Heymann documents the actor’s aggressive rise to notoriety.
