It was fascinating to watch a young white woman enter the home of two gay women of color and make a concerted effort to support them, without centering herself or her own personal experience.
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.
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?
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.
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.
“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?
Portrait of a Lady on Fire pushes against the boundaries of the screen, frantically, lovingly, desperately, erotically.
A very merry Christmas to us all! Netflix’s new holiday movie has a queer romance!
The fearsome thriller exposes the horror of unsupportive white partners.
Why did this movie tank so hard that it was almost immediately out of theaters in America? Why did this not get the coverage or accolades it deserved for being the first mainstream Bollywood movie about a lesbian relationship?
Well, long story short, the movie is bad.
“Jennifer Lopez’s entrance in Hustlers is better than any of us could have dreamed. But days later, the scene that won’t stop playing in my head happens almost directly afterwards, on the rooftop of the club where Ramona and Destiny work.”
This is a movie about queer women for queer women. It’s about the way we hurt and the way we hurt each other.
While the larger conflicts may fall flat, the dramatic minutia when the threesome is going well is really enjoyable to watch.
Just because you leave the movie feeling emotionally fulfilled and intellectually challenged, doesn’t mean it’s any less erotic.
The film goes beyond mere representational milestones. It’s beautiful, it’s laugh-out-loud hilarious, it has two whole musical numbers, three whole Britney Spears references, and is just bursting with queer creativity!
This is a movie about lonely queers. And it’s a movie about queers who sometimes make baffling choices.
Anyone who watches Supergirl knows just how talented Nicole Maines is and she carries this movie with ease. She’s so casually present on screen and she absolutely kills a one-liner.
