‘(This Is Not) A Christmas Movie’ Is Not a Very Good Christmas Movie, but It Does Have a Queer Sex Scene
The Dutch comedy attempts to destroy the typical holiday movie formula but self-destructs in the process.
The Dutch comedy attempts to destroy the typical holiday movie formula but self-destructs in the process.
While the plot is primarily focused on abortion access, the film is also an essential portrait of another overly politicized issue: trans teens in sports.
The queer reveal is presented as a twist, and while I’m sure it surprised straight viewers, sleuthy queers will probably pick up on it.
Whether you’re a longtime fan of Annie Baker’s plays, or meeting her work for the first time, Janet Planet is a rapturous cinematic experience.
Although the film carries its head high for nearly the entire runtime, it might just undersell itself in the last moments. Absence of judgment does not necessarily give way to a mature reading of the character’s inner life and emotional drives.
The investigation that most needs to occur is an internal investigation done by all of us about how we think about celebrity and parasocial relationships.
This may be a sizzling hot take, but Chris Sanders’ The Wild Robot is a queer film.
The real horror is straight people.
Queerness exists in Coppola’s world but only as a marker for debauchery.
Will doesn’t have to be perfect to be a great friend to Harper, and this documentary doesn’t need to be perfect to be meaningful.
Rez Ball reminds me of the sports movies I watched over and over again as a kid. Except none of those movies had a queer coach and featured a montage set to Lil Nas X.
The movie is surprisingly casual about bisexuality given its otherwise old-school vibe.
Harper from Happiest Season looks like a perfect angel next to Gordon.
While I find the idea of documenting a young girl’s journey into her bisexuality as a refreshing, exciting exploration, the poor storytelling and narrative structure of the film left me with some concerns.
The lesbian character feels like a prop, a character meant to show up in flamboyant eye makeup, go through IVF, and then die.
It’s thrilling to watch an artist as accomplished as Arnold reach a sort of apex of her talents while still pushing for reinvention. The result is a film that is impossible to predict from narrative to form to emotional experience.
This is a very human film, but it’s also a very gay film with jokes that are sure to land even harder for queer audiences.
The wrongness of the servant/matriarch relationship does not preclude these encounters from being very, very sexy.
I’m glad we have lesbian cinema that goes beyond this narrative of homophobia and shame. But as long as homophobia and shame are present in our world, there will be a place for movies like Sweet Angel Baby.
There’s a pressure on trans people and trans storytellers to frame transition as a wholly positive experience. Any negativity is supposed to be external.