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.
Steve Trevor is the main and unconquerable problem with Patty Jenkins’ follow-up to 2017’s nearly perfect Wonder Woman origin story, but it’s not the film’s only issue. Wonder Woman 1984 is a complete mess.
In Viola Davis’ hands, “Ma Rainey’s Black Bottom” becomes a complex portrait of a queer Black woman hurricane whose footprints loom large over the last 100 years.
Bend It Like Beckham could never.
Join Valerie, Drew, and Carmen as they geek out about Ryan Murphy’s Netflix adaptation of The Prom.
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!
“People were always so impressed that you didn’t leave me, but your gift wasn’t staying — it was seeing. Most people don’t get to transition under the pansexual gaze of someone who loves them the way you loved me.”
I love Christmas. I love having a guardian gayngel. And even when the movie is not great, I love a queer Afro-Latina in New York getting her very own Gay Christmas Love Story.
Clea DuVall manages a real Christmas miracle in Happiest Season by capturing the distinctly queer and quietly heart-wrenching experience of not being able to share your real self with the people you love most, when all you want to do is shout from the tallest chimney in town that you’ve found your person, that you’re in love.
Much to my chagrin, this did not turn out to be a movie about Vanessa Hudgens and Vanessa Hudgens taking turns topping each other.
“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.
It’s less that Winslet feels like Ronan’s mother and more that she feels like Ronan’s dull aunt she sees once a year at Christmas.
Shelli and Drew had such high hopes for The Craft: Legacy, and wow were they dashed by this terrible movie.
Dani and Shelli got together to chat about Justin Simien’s new satirical horror movie, their own relationships with their hair over the years, and being over the compulsion to make space for white audiences in Black films.
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.
Stop what you’re doing right now and watch Alice Júnior on Netflix.
Michelle Handelman’s Bloodsisters, a documentary about a group of San Francisco leatherdykes, is celebrating its 25th anniversary at NewFest. More than just whips and chains, the film spotlights a culture that focuses on political activism and sexual imagination that has rendered it timeless.
