Slow Takes: We Come to This Place for Magic
A movie theatre was the first reason I left my apartment after the 2016 election.
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.
We’ve got the return of several queer-inclusive reality TV shows, movies like Bros and The Almond & The Seahorse, new seasons of Doom Patrol, Sort Of and Gossip Girl, and more!
In the age of streaming, it may seem like physical media is the way of the past. But streaming options are very limited.
This is a true work of avant-garde queer art that features furniture humping, disembodied hands, DIY-looking miniature set pieces, and BDSM dance parties.
Glinda is proud of you for bringing a girl to the prom that she is chaperoning, that’s it.
In which a masc lesbian musician nerds out about Tár: what worked, what didn’t make sense, what she loved, and where the film went astray.
In the ten years since Whitney Houston’s passing, one of the sweetest journeys to witness has been the purposeful reclaiming of her legacy by Black queer people.
If we allow these wars to be reframed through a queer lens, through a hip A24 lens, we will see their errors repeated.
Look, if you want Cate Blanchett to punch you in the face and run over you with her bicycle, that’s absolutely fine — but revisiting Carol or even Ocean’s 8 is a better way to live out that fantasy.
We’ve got The L Word: Generation Q, new seasons of The Sex Lives of College Girls and Dead To Me and Elite, a very gay brunch-focused cooking competition, Cara Delevingne’s sexual journey and more!
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.
Amanda Kramer’s new film, Please, Baby, Please, is an exploration of gender entirely on its own terms, entirely on our terms. It’s a relief to be spoken to with such complexity and humor.
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.
Cecilia reminds us that whatever was living in you before you grew up doesn’t just vanish into thin air; it mutates and resides in your bones until it decides your body isn’t home enough for it anymore.