In the early 2000s, the silver screen was awash in groups of ostensibly straight girls in low-rise pants fighting crime, dancing on the bar and writing burn books! Along the way, some of them turned you into the brave gay person you are today!!! Which film was it?
In honor of this week’s release of “Grease: Rise of the Pink Ladies,” we are ranking every character from Grease and Grease 2 by lesbianism.
“Does the Academy just love war? They want to GET INTO THE TRENCHES. Well not me. I prefer not to trench. Unless it is Lydia Tár’s trench coat.”
The following are the favorite films from all the out queer and trans directors who submitted lists to Sight & Sound — with some notes on what these lists reveal about the artists’ own work.
After “Foxfire,” Annette was pushed aside and ignored. But she kept working — detours and frustrations included — and now she’s back with a new film and ready to move beyond for-hire jobs to direct the personal, artful work she should have been making for decades.
“In the past few years, we’ve been seeing queer people in film outside of trauma and pain. We’re seeing folks who can be terrible, romantic, sweet, murderous — and who also just happen to be queer.”
Film festivals are one of the primary places that buzz begins. It’s why it’s so important that the first responses to films out of festivals aren’t solely those of cis straight white men working for major publications.
Over the past few years, Autostraddle has had a presence at some of the biggest film festivals in the world. We’ve gone to TIFF, Tribeca, The Black Femme Supremecy Film Festival, and of course Sundance. This year we’re returning to Sundance — with not one, but two writers!
“I think it just shows that as a culture we remain ignorant to these nuances. For me it comes down to people’s fascination with grouping things into familiarity instead of finding new ways of saying something.”
A movie theatre was the first reason I left my apartment after the 2016 election.
“What an extraordinary middle finger to the whole apparatus! And I include myself in that.”
Sight and Sound, the British film magazine that has long been the most agreed upon arbiter of the film canon (at least in the English speaking world), has named Chantal Akerman’s Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles the greatest film of all time.
I begin to realize my relationship is over when my boyfriend starts cleaning his gun in our apartment.
If they couldn’t appreciate porn as art, I couldn’t trust they’d see a slasher set in the world of its production as anything but a cheap thrill.
The plotline, the script, and the direction of the film are all critical of not only the colonialism of the early U.S. settlers, but also of the U.S. military, of the Christian church, and, of course, of the masculinity of those who think participation in any of these things makes them more righteous than anyone else.
In 2004, there were two queer slashers making the festival rounds. But you’ve probably only heard of one.
When I saw a UFO, I was 18 and it was the night before prom.
For all the queer art being made now, for all the films and the television shows and the webseries, I never feel as loved as I feel watching some micro-budget Italian horror film from 1975.
It’s not hard to see the connection that trans readers and storytellers can find in vampire media.
Horror has always been the most democratized genre.