We all just want to be shirtless and gay and on a boat off the coast of France with the love of our lives, right? This film gives us plenty of that, with a gorgeous 80s aesthetic to boot. However, permeating this narrative are also moments of grief, sadness, regret, and a deep and impenetrable longing for what could have been. Tragedy and heartbreak live alongside youthful joy and discovery. But what taste does this specific blend leave in your mouth? Don’t worry, we’ll get to that. […]
Intergenerational connection is an often-forgotten but vital aspect of building community. In the LGBTQ community, the HIV/AIDS epidemic that attacked the gay scene of the 1980s and 90s has made such connection that much more difficult today ー simply, and devastatingly, there are not as many gay people who survived that era. Therefore, a film which orbits on the friendship between two drag queens, one in her 70s and the other in her 20s, is very much welcome. Beyond this relationship, the following film plays daintily with timelessnrss and identity to make us question the boundaries of gender, of queer aesthetics, and of queerness in an of itself. […]
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? […]
After they first sleep together, Martin does everything he can to not let David get away. First, he makes him breakfast. Next, he drives David to his parents’ house in rural Sweden and they spend another night together. After driving David back into Stockholm the next day, Martin knows that this is as long as he can cling on; now, he must let David go back home, and hope that he comes back to him after his homosexual comedown. Fortunately for us, this is a romantic comedy, so I don’t think it spoils anything to say that’s not the end of their love story.
He stares into the fire as if searching for something; he seems drawn to it inextricably, and nods when he sits down, perhaps recognising memories from summer in the twisting flames that eventually must mark his retinas. A mix of tears, sobs and smiles, the moment —along with Elio’s emotional journey— is bittersweet. He bites his lip, chewing on a memory; later, a tear falls down his face and he lets it enter his mouth, letting himself literally consume the sadness, embracing and surrendering to the emotion. […]
“Call me by your name, and I’ll call you by mine.” It really is the perfect eponymous quote for a film about narcissism and projected self-obsession. Suggested by Oliver to his younger male lover, it reads from his mouth as a yearning for lost youth. Yes, this film is beautifully shot, and yes, the stylisation is exquisite; but this love story is far from pure. […]
I watched this last weekend with some friends and I just had to find a way to process this clusterfuck of a movie. So here we go. Oh, and just to clarify, it’s not about incest …probably. Donne-moi la main, English translation: Give Me Your Hand, (Pascal-Alex Vincent, 2008) is a French-language film about a twin brothers’ journey across Europe. As they travel to the funeral of a mother they’ve never met, Antoine and Quentin confront their complicated sibling relationship, as well as perceptions of their own and each other’s desires.
As queer people ー specifically, gay men ー we are used to relationships not lasting forever. People get scared ー of their own romantic and sexual impulses, of how they feel about their identity ー and they run away. Encounters are often hidden: we meet at night, in dark corners, away from prying eyes. Sometimes the light of day eclipses what went on in the dark, and we are left wondering if our desperate minds fabricated the whole thing. And then the night begins again, and he comes back, and we know that, even if just for tonight, it’s real.
In 2020, it’s hard to believe that a film about a gay and a lesbian being each other’s beards (pretending to date each other so people think they’re straight) hadn’t been made. I suppose there was that one storyline on Glee… but still, here it is, finally, in full cinematic force. Of course, the main question is: does it live up to the hype? And the answer, of course, is complicated. Dating Amber (David Freyne, 2020) is a coming-of-age comedy set in oppressive 1990s Ireland. The story follows baby gay Eddie (Fionn O’Shea) and baby lesbian Amber (Lola Petticrew), and their developing friendship as they pursue a pretend relationship. […]
Coming into this, I think I was promised something like But I’m a Cheerleader: The Musical, in Spanish. What I got was, if you can believe this, so much more and so much wilder than that. My thoughts throughout were, to quote lovely fifth alternate Alyssa Edwards, ‘what the fuck is going on in here on this day?’ Avoiding any major spoilers, I will try to explain ー though I’m not sure to what extent that will be possible.