It’s impossible to forget a feeling like sitting on the bleachers watching Floriane swim. It’s impossible to forget the drowning.
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!!!!!!”
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.
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.
Bend It Like Beckham could never.
Sex is weird, and this movie leans into that without pretending to have all the answers.
“I don’t know what’s gayer: the outfit itself or the fact that Vivian remembers it in such specific detail 19 years later.”
Things I didn’t know about Gia but learned quickly: this movie is very fucking sad, Mila Kunis plays Young Gia, Adina Porter makes a brief appearance, ELIZABETH MITCHELL plays Gia’s love interest, and Gia’s female love interest was not a brief drug-fueled lesbian fling!
“If you could be anywhere in the world, where would you be?”
The girls are so scared of the realities they’ve been given that their fantasy — murder and all — feels like the only choice. They don’t know yet that there’s a whole world of creative queer people out there.
If we’re going to reexamine The Matrix through the lens of the Wachowskis’ transness, it’s time we do the same here. Bound is ready for its estrogen shot.
Arranging flowers is gay — you heard it here first.
Donna Deitch’s queer love story is set in the ’50s and was filmed in the ’80s, and is still, in 2020, a radical piece of filmmaking.
I wish I could go back and show this film to my baby gay self.
There’s a reason forbidden romances like this spoke to me as a closeted person!
I hope those of you who celebrate had a relatively joyous Rosh Hashanah. And now please join me in the High Holy Day of revisiting a Jewish queer woman classic.
This movie is simultaneously sexy and fucked-up, and its paradoxes mesmerize.
As Cleo, Queen Latifah had never been better. Young, mighty, unadulterated, sweet to her friends, sexy in the way that only studs can be — an energy that radiates beneath the pores and melanin, the quiet, intoxicating confidence that comes from truly owning your shit.