“Jennifer Lopez’s entrance in Hustlers is better than any of us could have dreamed. But days later, the scene that won’t stop playing in my head happens almost directly afterwards, on the rooftop of the club where Ramona and Destiny work.”
“It’s 1999. You’re Julia Roberts. Your hair is indisputably glorious. You should absolutely put on a cowboy hat. What will you wear with it? No, incorrect. It’s a very busy top from the Gilmore Girls Strong Print collection, pegged jeans and sensible shoes.”
There’s no evidence that Aimee Semple McPherson was queer. But there’s no evidence that a lot of historical figures did a lot of the things they do on screen.
Remembering that queer people have always been here, and have always been hot, is a necessity if we want our present and future to be truly queer.
This is not a lesbian film. It is merely a film starring two women bursting with sexuality. And when I was 14 it was my favorite film of all time.
This is a movie about queer women for queer women. It’s about the way we hurt and the way we hurt each other.
“My favorite moment in the movie happens during the climax when one of the skinheads punches Judy. She punches him back. He calls her a dyke. And she says thank you.”
If only these women had allowed themselves to consummate their love for each other.
Vampyros Lesbos is not my fantasy. But it is a fantasy. And, while this fills me some guilt, I do, in fact, enjoy it.
While the larger conflicts may fall flat, the dramatic minutia when the threesome is going well is really enjoyable to watch.
It’s rarely suggested that Rebecca was in love with Danvers too. But she was. That’s what I’m suggesting.
Just because you leave the movie feeling emotionally fulfilled and intellectually challenged, doesn’t mean it’s any less erotic.
The film goes beyond mere representational milestones. It’s beautiful, it’s laugh-out-loud hilarious, it has two whole musical numbers, three whole Britney Spears references, and is just bursting with queer creativity!
This is a movie about lonely queers. And it’s a movie about queers who sometimes make baffling choices.
Anyone who watches Supergirl knows just how talented Nicole Maines is and she carries this movie with ease. She’s so casually present on screen and she absolutely kills a one-liner.
I have absolutely no idea if Chantal Akerman would be delighted or horrified that I’ve written about her 1974 film in a way that, if successful, will lead you to 1) seek out the mental healthcare that you need, and 2) masturbate.
Instead of counting down the days to see if we get three lines on The L Word reboot, we should be counting down the days until Simone gets to turn this short into a full-season show.
My favorite type of queer cinema classic is the kind that constantly begs the question: Is this real? Is this a real movie? Is this a real movie made in (insert year)?
“For those keeping score, this movie with no lesbians now has four lesbians. Two living, two dead. And now enters the fifth non-lesbian lesbian, the dykiest of the them all: Miss Holloway.”
“Shirley daydreams about their first meeting. “I remember thinking, What a pretty girl.” Later, Audrey kisses her cheek and Mary’s eyes widen. Mine do too.”