“The Craft: Legacy” Isn’t Just Straight — It’s Bad
Shelli and Drew had such high hopes for The Craft: Legacy, and wow were they dashed by this terrible movie.
Shelli and Drew had such high hopes for The Craft: Legacy, and wow were they dashed by this terrible movie.
Dani and Shelli got together to chat about Justin Simien’s new satirical horror movie, their own relationships with their hair over the years, and being over the compulsion to make space for white audiences in Black films.
If we’re going to reexamine The Matrix through the lens of the Wachowskis’ transness, it’s time we do the same here. Bound is ready for its estrogen shot.
Stop what you’re doing right now and watch Alice Júnior on Netflix.
Michelle Handelman’s Bloodsisters, a documentary about a group of San Francisco leatherdykes, is celebrating its 25th anniversary at NewFest. More than just whips and chains, the film spotlights a culture that focuses on political activism and sexual imagination that has rendered it timeless.
Arranging flowers is gay — you heard it here first.
Donna Deitch’s queer love story is set in the ’50s and was filmed in the ’80s, and is still, in 2020, a radical piece of filmmaking.
If you live in the US you can watch the films! Even if you’re not in New York!
When Jenni Olson made these films, she wasn’t thinking about pandemics or quarantines or anything else this year has wrought, and yet there has never been a better time to revisit these five movies.
I wish I could go back and show this film to my baby gay self.
There’s a reason forbidden romances like this spoke to me as a closeted person!
Seeing as the modern police force is an evolution of slave catchers, for a film trying to make a point about how the horrors of the past still exist in the present — it comes across as both ahistorical and like a serious misstep.
I hope those of you who celebrate had a relatively joyous Rosh Hashanah. And now please join me in the High Holy Day of revisiting a Jewish queer woman classic.
This movie is simultaneously sexy and fucked-up, and its paradoxes mesmerize.
As Cleo, Queen Latifah had never been better. Young, mighty, unadulterated, sweet to her friends, sexy in the way that only studs can be — an energy that radiates beneath the pores and melanin, the quiet, intoxicating confidence that comes from truly owning your shit.
Not only is this film more than its labels because Sandoval sees her character’s humanity — it’s more than its labels because Sandoval is so good in all her roles. This is a patient and artful film, nuanced in its writing and direction, and filled with stellar performances.
There is charm to be had in watching two phenomenally talented straight actresses play out a lesbian relationship in the kind of wartime melodrama that is so often straight and white.
How the fictionalized film on the horror writer Shirley Jackson bends the line of reality.
Trans film history — like all film histories — is one filled with contradictions. “Disclosure” succeeds by making these contradictions its subject.
“You can’t have a rulebook or a playbook for how to connect. When you’re queer, it’s about negotiating your own way, when the blueprint doesn’t work for you.” Fatimah Asghar discusses queerness, intimacy and her new short film Got Game, that you can watch exclusively on Autostraddle.