If you don’t like to watch movies about horrible people doing horrible things, you’ll probably want to skip J Blakeson’s I Care A Lot. If you, like me, are a zealous fan of the small but growing canon of lesbian heist movies, you might have fun with this cynical, clinical movie steeped in the horrors of capitalism and greed.
Four trans individuals are featured in the new docu-series exploring the impact of Trump’s ideologies.
Which ostensibly straight actresses go “gay for pay” the most? From Natasha Lyonne to Vanessa Morgan, here are some of the most prolific actors in the LGBT cannon.
It’s impossible to forget a feeling like sitting on the bleachers watching Floriane swim. It’s impossible to forget the drowning.
The World to Come follows Tallie (Vanessa Kirby) and Abigail (Katherine Waterston), two neighbors in upstate New York in the 1850s, as their families battle the sparseness and harshness of the land and they battle their feelings for each other.
The visual and narrative tension, of course, ramps up the eroticism, but so does Madeline and Nina’s actual relationship, which hasn’t aged in that calm, quiet, mature way we usually think of lesbian grandmas.
R#J is gay because Romeo and Juliet are a canon U-Hauling Cancer for Cancer lesbian couple.
Two of Us follows neighbors Nina (Barbara Sukowa) and Madeline (Martine Chevallier), who have been in a relationship for years, as Madeline struggles to finally come out to her adult children, and Nina grows weary of waiting.
The cinematography, the sound design, the direction of the actors — it all culminates in a remarkable cinematic experience. And yet every time Affleck was on-screen, I felt chilled.
Pauli Murray was unspeakably brilliant, and their warmth is best captured on their own terms. With over 141 boxes of writings, 800 photographs, and dozens of tapes — the documentary “My Name Is Pauli Murray” shines brightest when it lets Murray take the reigns.
The dialogue isn’t exactly elegant — though there is one deeply quotable moment when Jane’s lesbian teacher asks her what’s wrong and Jane says, “I’m gay and everyone hates me!!!!!!”
That’s what’s so special about watching a film from a trans filmmaker this audacious and experimental. It doesn’t have to engage with transness in the expected ways to resonate with a trans audience.
Look, when a character takes a strap-on out of her backpack in the middle of a sex scene you know you’re in good hands.
This afternoon at Sundance, I took a break from binging movies to watch a panel straight out of my queer film nerd dreams.
One of the pleasures — pains? — of consuming art right now is that everything seems to be filtered through our current lens. And it makes this thriller all the more effective and difficult.
How can you watch this series and not feel angry with how deprived we are of stories about queer people with disabilities? How can you watch this series and not be delighted with what’s finally on-screen? How can you watch this series and not be excited about all of the possibilities fulfilled and all the possibilities still to come?
Alike is a chameleon, disappearing in the light of her surroundings — purple in the club, green on the bus, pink at home — only ever showing you her profile when she’s forced to be less than her authentic self.
This time Gone Girl is gay, girl.
It’s a piercing portrayal of abuse. It’s a monster movie, only instead of a creature in the night, its monster is a human woman.
What’s new and queer this month on streaming networks? We’ve got a new season of Dickinson, a Fran Lebowitz special, Anna Pacquin as a hot bisexual mess in Flack, Root and Shaw, a movie called “So My Grandma’s a Lesbian!” and so much more!