Closeted lesbian grows up in oppressive religious household, denounces her faith and escapes to the bright lights of the city: we’ve all seen that movie. To Each, Her Own (Myriam Aziza, 2018) ー terrible title, by the way, but we’ll get to that ー focuses on the crises that come after.
Simone, comes from an Orthodox Jewish family and lives with her “room-mate and best friend” (family code for lesbian lover) Claire. Just as she finally thinks she’s ready to come out to her family, she falls for Sengalese chef Wali (a man). A novel and intriguing concept, of course, but where could it possibly lead? Well, as it turns out, both absolutely everywhere and resoundingly nowhere. Let’s get into this hot-mess-express of a shitshow movie, shall we? […]
My instinct is to say that this queer coming-of-age film is nothing revolutionary; however, it seems that ー even in 2021 ー a film aimed at teenagers that revolves around trans joy is in fact just that.
Alice Júnior (Gil Baroni, 2019) tells the story of its title character, a vibrant 17-year-old trans girl who’s worried about getting her first kiss. The film’s journey begins when she moves from a fancy apartment in a high-rise building in Recife to the small conservative town of Araucárias do Sul. After incidents of cyberbullying at her new school, she no longer has an online refuge to escape to. Can she reclaim a place in her new life? And, crucially, will she get her first kiss? […]
The Blonde One is perhaps a generous translation of this film’s title. The original Spanish “Un rubio” is in fact very telling. Juan utters these words to refer to part-time lover Gabriel; it is an indefinite article for an indefinite relationship: to him, Gabriel is simply “a blonde”, another body to use and explore. From the start, what they have together appears strictly casual ー and yet, as time goes on, could there perhaps be more? […]
A gay son returns to his homophobic family home in full drag, complete with a train so large it’s on-screen long enough for a slow fade into the film’s title: The Panti Sisters. Drag queen Gabbi ー who, with a last name like that, need not change it in drag ー breaks the fourth wall to narrate to us the story of how she made it here, sequins and all. She also has a reveal, because of course she does: sliding off her robe, she wears a purple rhinestoned mini-dress, a sensible choice for a family dinner.
If you thought this was camp, just wait for the rest of the movie. […]
Literally translating the Chinese title to “Who Started Loving Him First?” gives us a lot more insight into what this film is actually about; perhaps, rather, it could have been “Who Did He Start Loving First?” ー the “he” referring to recently deceased Song Zheng-yuan. We spend the film with the people who surrounded Zheng-yuan’s life: his teenage son Song Chen-hsi; his ex-wife Liu San-Lien; and the male lover Chieh he left them both for in his final few weeks and months of life. When a battle for Zheng-yuan’s life insurance money forces these three characters into each other’s company, chaos ーpredictablyー arises. […]