Miranda July’s new feature, starring a magnificently weird Evan Rachel Wood, is a careful, long-game-playing meditation on how we can learn to parent ourselves when our own families refuse to do the job.
“What is a happy ending with a lesbian love story? Eternal possession? We want a frozen image of two people getting married?”
With two on-screen queer women characters, “Birds of Prey” is an irate, sparkle laden, middle finger in the air to a society that otherwise cowers to the angry whims of men. Who the hell wouldn’t sign up for that?
“Okay so Christian Bale plays… Mr. Ferrari. And Matt Damon plays… Henry Ford?”
Not only is Montoya the first Latina lead and lesbian lead in a DC film, she also has an iconic history, including being one of the first and most celebrated lesbian comic book characters of all time.
When I watch these movies, I find myself writing fan fictions in my head: What details would I change, to make this piece of art truly for me, and for the community that I love? Maybe it’s simply that the sex workers on film would just be a lot more… regular.
Maybe you’ve been separated from your lover because your homophobic society won’t accept your love. If so DM me and I’ll send you 350 movies to watch. But personally I’m sad because sometimes life is just really hard.
The swagger, the sunglasses, the casual disregard for any man trying to tell her what to do! Hello, Renee Montoya!
Untimely deaths, lesbian bed death, a creepy heterosexual polyamorous couple; you won’t find it here. Instead, the film takes the approach of exploring the many different loves we have in our lives.
The most remarkable thing about Gerwig’s film isn’t that it leaves room for queerness – it’s that it leaves room for sadness.
A new movie from Saving Face writer/director Alice Wu! Ryan Murphy’s take on the Broadway musical The Prom! A whole new Rebecca adaptation!
LGBTQ TV and LGBTQ movies remain nearly impossible to rank at the end of every year, but for completely different reasons.
I’m not talking about dyke-y hair and gun-licking as subtext. I’m not talking about just her general way. I’m talking about Kate McKinnon’s character having sex with Margot Robbie’s character and their relationship becoming the most emotionally resonant thing in the entire movie.
The fact is most of the films about us — and especially the films by us — do not get the attention they deserve. But nobody is better equipped to tell our stories than we are.
“For a work touted as blackness for Black people, Queen & Slim ultimately offers not hope or a way forward, but more images of beautiful Black corpses added to the growing canon of Black death for consumption. And I’m simply not able to keep bearing witness.”
Season of Love has the same mistletoe mishaps of any holiday movie, but with 200% more queerness.
If Disney wasn’t ready to explicitly represent a fifth of its young audience, they could’ve at least given Elsa a gal pal. I don’t need to see Elsa make out with the mysterious voice calling her to the next chapter of queer life, but lord did it have to be her mother?
The movie pays homage to its predecessors while still charting its own course.
Portrait of a Lady on Fire pushes against the boundaries of the screen, frantically, lovingly, desperately, erotically.
Good lord, this meal is for rich people. Every component of the dish is velvety and smooth; there is no texture, no croutons of hardship, no chili flakes of poverty.