Results for: Feel good
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I Asked a Top About “Bottoms”
In which Kristen Arnett answers important questions, such as: Who were the biggest bottoms in Bottoms?
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The Most Important Movie of the Year Is a Documentary From 1976
The Memory of Justice draws parallels between the Holocaust and the more recent horrors of the French occupation of Algeria and the American occupation of Vietnam.
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Slow Takes: The Year of Queer Indie Musicians Creating in Solitude and Losing Their Minds
Horror has always been the most democratized genre.
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We Won — Sex Is Back On-Screen
With films like Drive-Away Dolls, Love Lies Bleeding, and Challengers, the movies are sexy again. But I’m not writing this piece to gloat — I’m writing it to get greedy.
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The Horrors of “Ravenous” Are Difficult To Digest
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.
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“Anyone but You” Was a Hetero Hit — Why Does It Take Place at a Lesbian Wedding?
The whole wedding somehow looks straighter than an Imagine Dragons fan guesting on The Joe Rogan Experience.
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Where Are All the Scream Kings?
When I was in fourth grade, I got in trouble for discussing how fast my body would decompose if I was stabbed.
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Annette Haywood-Carter on “Foxfire,” Filmmaking, and Being a Queer Woman in Hollywood
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.
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Maryam Keshavarz on “The Persian Version,” Translating the Iranian American Experience On-Screen, and Cyndi Lauper
“I was always bisexual. Even in college, I dated a man and a woman at the same time, and they knew about each other.”
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How it Ends
I begin to realize my relationship is over when my boyfriend starts cleaning his gun in our apartment.
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Sight & Sound: Ten Favorite Films from Cheryl Dunye, Desiree Akhavan, and Other Queer Faves
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.
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Auli’i Cravalho on Coming Out on TikTok, Midnight Heartfelt Queer Convos, and Hulu’s “Crush”
“Laying down next to a pretty girl in moonlight and talking about our feelings, like… it’s just movie magic.”
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TIFF 2022: A Queer and Trans Festival Recap
Over the past couple weeks, I’ve watched forty features and the first two episodes of a TV show. Yes, forty. Consider this list a reference, a collection of short reviews for the rest of the year’s buzzed about films and films that should be buzzed about.
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“Knife + Heart” and the Thin Line Between Desire and Destruction
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.
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Stewart Thorndike on “Bad Things,” Motherhood, and Her Childhood Nightmares
“The world is a frightening, frightening place, so I don’t really understand why every film isn’t a horror film.”
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Anatomy of a Queer Sex Scene: The Rules of Desire in ‘Y Tu Mamá También’
Y Tu Mamá También relies on ambiguity: Partly, I presume, so that it could reach audiences who might not have watched the film had it been more explicitly gay. I know young me wouldn’t have dared to.
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“Saltburn,” “The Bling Ring,” and the Pathetic Desperation of the Upper Middle Class
Upper middle class people are rich. But don’t try to tell them that.
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Theo Germaine on the Queerness of Horror, the Alchemy of Time, and “They/Them”
“A lot of the history of horror is that, you know, those queer coded people who don’t fit in are baddies.”
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Representation Matters but I Didn’t Expect Bottoms To Take It So Far for Me
On discovering a doppelgänger in an unlikely place.
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Peaches Christ and Mink Stole vs. Death
Peaches Christ wants to make sure artists young and old, dead and living, are properly celebrated. That’s true whether she’s mentoring future Drag Race winners or writing a show with her idol turned friend, Mink Stole.