The dialogue between the 1970s photographs of cinemas in Bogota where men from different class backgrounds went to cruise by Colombian artist Miguel Ángel Rojas, alongside American artist Dean Sameshima’s 2020s photographs of men at adult movie theaters in Germany, also performing choreographies of desire, showcase how extimacy in homosociality is transhistorical and transgeographic. These two series demonstrate the latent clandestine melancholy of voyeurism and the vitality of queer claimed spaces.