When I sat down to watch and review Disclosure (2020, Sam Feder), I couldn’t help but ask myself: could I have imagined this documentary at this calibre being made ten years ago? Five? Even one? The answer to all of those questions is a resounding probably not. And yet, as this film proclaims so loudly, trans people have existed on screen since screens became a thing. Disclosure is a wild ride through a chaotic history of dangerously cliched trans representation: from villains to violence, genital surgery and sex workers via transness as a vehicle for praising cis men (did they really need another one?). And we learn a lot from what not to do. […]
Marsha P Johnson was a black trans woman (self-identifying as a drag queen, the language which existed at the time) who was, at the very least, militantly active in the 1969 Stonewall Riots. There are conflicting accounts about whether she “threw the first brick”, but thanks to Stonewall, and countless other protests over her lifetime, she is one of the reasons we have Pride. Every queer person should know who she is. She is gay liberation. She was The Moment. Thankfully, this documentary paints a vivid picture. […]
Picture this: on a dreary Sunday afternoon in 2010, you decide to visit your local independent cinema. There, you discover it’s the last day of an artsy film festival ー something about identity in Asia, or perhaps LGBTQ rights around the globe. You notice that a collection of short films is about to be shown, and you buy a surprisingly cheap ticket. There are six other people in the queue, and one of them works there, but everyone seems excited. You sit down in the third row ーa prime spot, but not so far forward as to seem over-keen. The lights go down, and the titles roll. This is how it feels to watch this film. […]
“I want to see you” You know what Therese Belivet, I also want to see Cate Blanchett, at any and all times possible, so thank you.
As suggested by my opening quote, Carol (as film and character) is extremely visually rich. It is sensual, evocative, and elegant. The theme of vision — observation, seeing and being seen — comes around time and time again. […]
First off, a warning: don’t start watching this whilst eating. You’ve got vomiting, calving and barebacking (and in that order) all in the first ten minutes. Although the movie soon becomes more palatable, it is worth noting that this is not a comfortable film to watch. Comforting maybe, especially by the end, but far from comfortable. […]