When I started writing these reviews, I didn’t think I cared too much about plot. After all, there is so much more that makes a film good: acting, casting choices, camerawork, colour grading, lighting, editing… I could go on and on. Ultimately though, storytelling sits at the core of cinema. And, as I’ve seen now in a good few films, one glaring narrative choice can tarnish your whole experience of an otherwise objectively good film. Unfortunately, Boy Meets Girl is one of those cases. […]
In the past few years, we’ve made some big steps in terms of queer representation on screen. It has come to the point where, just because you can make a movie musical about a lesbian going to prom starring Nicole Kidman and Meryl Streep, doesn’t mean that you should. When I first heard about the movie, I knew it would be directed by Ryan Murphy before I even finished reading the blurb. When I heard it was also starring James Corden ー in gayface no less ー I had a feeling this wouldn’t be the only questionable choice. […]
‘Hear me: it is not a handicap to to have one thing and not another, to be one way and not another.’ As Miranda clears up the kitchen, sounds of plates seem extra loud in the silence of the night as she and Cyd make awkward small talk. The camerawork mirrors Miranda’s conviction, staying on her without moving for most of her speech. There is a static visual background and no music to distract us, only the faint hum of chittering cicadas lingering in the soundtrack. […]
Princess Cyd opens with a deeply traumatic premise. We hear a neighbour’s 911 call, and our title character Cyd gets some devastating news: her mother and brother have been fatally shot. Throughout the action of the film, we find ourselves forgetting the trauma in moments. Impressively, though, the film still manages to find joy. Ultimately, it is a coming-of-age drama about finding common ground, building relationships and dealing with trauma through interpersonal connection.
I’ve never been one for a horror film. As a teen, the monsters in Doctor Who gave me nightmares, and I still look away when I sense a jump scare coming. However, it turns out that camp horror is a lot more fun. And if we’re talking about camp horror, then there’s no better place to start than a film titled Poltergay (It’s like poltergeist but gay! Get it?)
Happiness Adjacent (Rob Williams, 2018) is one and a half hours of glaringly objective proof that you can’t just get on a cruise with an iPhone 3 and make a feature-length movie. (Okay, fine, an iPhone 6, but that doesn’t make it any better.) The film explores a story reminiscent gay p*rn: a straight married man (Kurt) who ends up falling for a gay guy (Hank) on a cruise. Hank narrates the film in voiceover, either as an omnipotent voice or in conversation with a towel in sunglasses which represents his friend Brian (no really), who abandoned him last-minute to sail the gulf of Mexico alone. It turns out low budget sometimes does mean low quality.
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.
Soft acoustic pop and passing cars lead into lingering glances across a sleeping city. Adoring fan Sang-i gazes longingly at street singer Kang In-su as he strums his way through a soppy ballad, the almost-title track “Wish For You”. Initial seeds of romance are planted within the first 2 minutes; yet, we are forced to wait with baited breath until the last 2 minutes to see whether the buds will blossom. This, of course, begs the question: how much do we really gain along the way? […]
Starting this film off, I had to google to check whether it was, in fact, queer. Fortunately, after an appearingly heterosexual opening, the lesbianism arrives ー slowly, and then all at once. Just to reassure you: the titular New York Christmas Wedding does end up being a New York Christmas Lesbian Wedding. More accurately, a A New York Christmas Surprise Lesbian Catholic Wedding. But we’ll get to that. […]