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nsumer-marketg-un__slot--display-hero"></div><div class="journey-un"></div></div></div><div class="SpaceHolr-oayp fXtswJ ad-height-hold"></div><ma id="ma-ntent" tabx="-1" class="BasePageMaContent-kFvAuh ewPCZH page__ma-ntent"><article class="article ma-ntent" lang="en-US"><div class="ArticlePageLeBackground-EufvU tFsh"><hear class="ContentHearWrapper-clujbs kaZCaf ntent-hear article__ntent-hear"><div data-ttid="ContentHearContaer" class="ContentHearContaer-cGKRbE knDxNq"><div class="ContentHearHedAccredatnWrapper-GFiQf cDNVlV"><div data-ttid="ContentHearTleBlockWrapper" class="ContentHearTleBlockWrapper-cjmSKp brREPZ"><div data-ttid="ContentHearRubric" class="ContentHearRubricBlock-LmpbT iuTaVM"><div data-ttid="ContentHearRubricDateBlock" class="ContentHearRubricDateBlock-kAQcZP fTFWxD"><div class="RubricWrapper-dKmCNX irmJOI bric ContentHearRubricContaer-eTudtt iRsSlw"><a class="RubricLk-gRWSOU liwQmm bric__lk" href="/featur/lists-and-guis/"><span class="RubricName-fVtemz cLxcNi">Lists & Guis</span></a></div></div></div><h1 data-ttid="ContentHearHed" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHearHed-NCyCC iUEiRd hWGSa-D jTptLg">The 30 Bt Queer Mic Movi</h1><span class="ContentHearContentDivir-liIxwf kOTubb"></span></div><div class="ContentHearAccredatn-lfctVB etVsnJ ntent-hear__accredatn" data-ttid="ContentHearAccredatn"><div class="ContentHearDek-bIqFFZ gMTlPZ">A celebratn of the overlappg nons of queer cema and mic movi, om <em>Rocky Horror</em> to <em>Hedwig</em>, <em>Y Tu Mamá También</em> to <em>Tár</em> </div><div class="ContentHearByle-kmPyCa emiglw"><div class="ContentHearByleContent-dpPmNn DRFq"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl ContentHearByl-cZqgyJ bHLeKI"><p class="ByleWrapper-jWHrLH jslqCu byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd gebkj gnILss byle__preamble">By </span><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM ByleLk-gEnFiw iUEiRd JArb kUYkyS eErqIx byle__name-lk button" href="/staff/eric-torr/">Eric Torr</a></span>, <span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM ByleLk-gEnFiw iUEiRd JArb kUYkyS eErqIx byle__name-lk button" href="/staff/nade-smh/">Nade Smh</a></span>, <span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM ByleLk-gEnFiw iUEiRd JArb kUYkyS eErqIx byle__name-lk button" href="/staff/tatiana-rodriguez/">Tatiana Lee Rodriguez</a></span>, <span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM ByleLk-gEnFiw iUEiRd JArb kUYkyS eErqIx byle__name-lk button" href="/staff/michelle-kim/">Michelle Hyun Kim</a></span>, and <span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM ByleLk-gEnFiw iUEiRd JArb kUYkyS eErqIx byle__name-lk button" href="/staff/emma-madn/">Emma Madn</a></span></span></p></div><time data-ttid="ContentHearPublishDate" dateTime="2023-06-05T11:04:39-04:00" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHearPublishDate-eIBicG iUEiRd jIyViq eMOiwD">June 5, 2023</time></div></div><div class="SocialInsWrapper-hKMEXV ffgPVr social-ins social-ins--standard ContentHearAccredatnSocialIns-jorO fPzfaa ntent-hear__social-share"><ul data-ttid="socialInslist" class="SocialInsList-cHVTIA ivmblD social-ins__list"><li class="SocialInsListItem-mbhR fxaFQj social-ins__list-em social-ins__list-em--facebook social-ins__list-em--standard"><a aria-label="Share on Facebook" class="external-lk SocialInExternalLk-huuzOU lobXkm social-ins__lk social-ins__lk--facebook" 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960w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w, 1920w, 2240w" siz="100vw"/><img alt="An illtrated reel of film wh a pk triangle Rocky Horror lips and more" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></div></div></span><div class="CaptnWrapper-jSZdqE wZGox ptn ContentHearLeadAssetCaptn-hPWmSN jwFdza"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd kHsNUl fNaHcW ptn__cred">Image by Mara Kozak</span></div></div></figure></div></div><asi class="PersistentAsiWrapper-VGrR oEIBz persistent-asi persistent-asi--align-left" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jNgrSF sticky-box ContentHearPersistentAsi-fsnAmQ dFzKzm"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="SocialInsWrapper-hKMEXV ffgPVr social-ins social-ins--has-background ContentHearSocialIns-jzJiyg fgMkJI 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15.88 13.032C14.5746 12.9664 13.2976 12.6269 12.132 12.0356C10.9663 11.4444 9.93808 10.6145 9.114 9.60003C8.69297 10.3223 8.56366 11.1782 8.7525 11.9926C8.94134 12.8071 9.43407 13.5187 10.13 13.982C9.60866 13.9664 9.0987 13.8258 8.643 13.572V13.614C8.64319 14.3718 8.90547 15.1063 9.38536 15.6928C9.86525 16.2793 10.5332 16.6818 11.276 16.832C10.7924 16.9633 10.2852 16.9825 9.793 16.888C10.0027 17.5404 10.411 18.1109 10.961 18.5197C11.5109 18.9286 12.1749 19.1552 12.86 19.168C11.6971 20.0805 10.2611 20.5754 8.783 20.573C8.518 20.573 8.257 20.558 8 20.528C9.5011 21.4921 11.248 22.0038 13.032 22.002" fill="black"></path></svg></div></a></li></ul></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN kJkLmH article-body__ntent"><div class="ArticlePageChunksContent-etcMtP bwyLBj"><div data-ttid="ArticlePageChunks" class="ArticlePageChunks-fLyCVG eSsnKa"><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ArticlePageChunksGrid-hfxa bDFJoo"><div class="GridItem-buujkM kHPPIF grid--em"><div class="BodyWrapper-kufPGa bCHUuY body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p>As queer people, some of the most pivotal moments of our liv occur spac where mic fills every rner: Movg as one a heated club wh your chosen fay, sgg along wh your lol drag queen, prsed agast a throng of bodi at a life-givg ncert—when to exprsg ourselv, mic’s rapturo lights have always offered a clear path toward pe and ecstasy.</p><p>Queer cema, an elastic tch-all for movi that foc on any mo of non-heterosexual sire, has often intified this tth wh cunng ventivens. While the very first queer films stretch back more than 100 years, wasn’t until the advent of popular mic the mid-20th century that they beme more explicly <em>about</em> mic. In pictg those vigoratg moments on film (and creatg their own), the movi showse the diverse ways mic fds s way to our liv: From Marlon Riggs’ electrifyg vio art mergg dance mic and poetry to Derek Jarman’s cshg bo of abstract sound and image, there is no lim to the ways queer film tertw mic and visuals to one enlivened work of art. </p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p>In an effort to pture that eclectic spe, Pchfork has piled 30 stellar exampl of the form, begng 1965. Prented chronologilly, this list clus both short and full-length films, rangg om mpy mils and cult movi wh a genr-bendg edge, to gay fever dreams of fandom and the ntemporary lbian classics of the Crern Channel. This llectn do not exclively feature queer-intifyg directors; stead, we foced on a mix of work om across the globe that has ma a mark on filmmakg and mic, mergg the two to highlight a queer pot of view. Thk of this as your official starter pack for a ep dive to the oceans of queer cema, wh impecble soundtracks, unfettable performers, and electrifyg dance sequenc to keep you movg.</p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Ktom Kar Kommandos</em> (1965)</h2><p>In 1965, the queer avant-gar pneer Kenh Anger directed a three-mute homoerotic nstctn of hetero Amerin male fantasi that doubl as an urtext for the mic vio as we know . Anger was given $10,000 by the Ford Foundatn to make a quick film about their rs; the Amerin manufacturer was fdg s footg amid a ph of factory-built mols, churng out shapely, chrome-plated beti that quickly beme a fetish object of post-war masculy. The director, meanwhile, was workg on what would bee his ceremonial Magick Lantern Cycle, a sequence of hallucatory 16mm short films that clud 1963’s <em>Srp Risg</em>, featurg a Nazi biker gang gettg their ppance via a homoerotic occult group.</p><div class="Contaer-bkChBi byNLHx"></div><p>That sential document of early queer cema, peppered wh blasts of pop and rock’n’roll mic, gave way to <em>Ktom Kar Kommandos</em>, Anger’s transgrsive e of all that Ford money—most of which, legend has , went to his own livg expens. Set to the dulcet girl-group ton of the Paris Sisters’ “Dream Lover,” the short wh a KKK-alludg tle imag a pastel pk daydream which a blond-haired boy buffs and r for his hearse-like r wh tense romantic longg and overt gay imagery. There are plenty of close-ups of the vehicle’s most erotic protsns, pl long pans of the boy’s ass clad tight blue jeans. “I want a dream lover,” the Paris Sisters sg yearngly as Anger’s protagonist toys wh a phallic gear stick. “I want a boy to ll my own.” –Eric Torr</p></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="sbf1k"></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ArticlePageChunksGrid-hfxa bDFJoo"><div class="GridItem-buujkM kHPPIF grid--em"><div class="BodyWrapper-kufPGa bCHUuY body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p><em>Watch on</em> <a href="><em>YouTube</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div><div class="CaptnWrapper-jSZdqE wZGox ptn AssetEmbedCaptn-fNQBPI dDrfgT asset-embed__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd kHsNUl fNaHcW ptn__cred">Photo by LMPC via Getty Imag</span></div></figure></div><h2><em>Cabaret</em> (1972)</h2><p><em>Cabaret</em> is unual among film adaptatns of Broadway mils for s attentn to cematic style, foregroundg Bob Fosse’s directorial visn whout losg s roots the theater. Fosse, who was an acplished dancer, choreographer, and stage director before he broke to filmmakg, was uniquely well-posned to adapt the acclaimed show, self spired by Christopher Isherwood’s memoirs of Weimar-era Berl. His sense of ternal rhythm is unparalleled, both his vivid stagg of numbers like “<a href=">Maybe This Time</a>” and the visceral cuts of his edg. Liza Mnelli’s fiantly charismatic turn as Sally Bowl, perhaps more than any of her other rol, ma her a beloved diva and queer in. Unlike many other classic movie mils, <em>Cabaret</em> endur not bee of s mp or spectacle, but s bracg realns: Its story of self-disvery, set agast the rise of fascism, remas tragilly relevant today. –Nade Smh</p><div class="AdWrapper-dQtivb fZrssQ ad ad---ntent"><div class="ad__slot ad__slot---ntent" data-no-id="cxt64f"></div></div><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a><em>, and</em> <a href=" target="_blank"><em>Google Play</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div><div class="CaptnWrapper-jSZdqE wZGox ptn AssetEmbedCaptn-fNQBPI dDrfgT asset-embed__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd kHsNUl fNaHcW ptn__cred">Photo by LMPC via Getty Imag</span></div></figure></div><h2><em>The Rocky Horror Picture Show</em> (1975)</h2><p>Is there any image queer cema as lible as Dr. Frank-N-Furter’s entrance  <em>The Rocky Horror Picture Show</em>? Watch light as Tim Curry, face fully beat, toss off his cloak to reveal a btier, fish-clad legs, skyscraper heels, and a wicked se, sendg whebread uple Ja and Brad to a straight panic. One of the earlit on-screen exprsns of mp excs, the glam-rock edy-cum-midnight-sgalong revolv around Curry’s high-wire performance; he leads his bal of sexually liberated weirdos wh real emotn lurkg unr his vville villay. </p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p>For as popular (and at tim crgey) as <em>Rocky Horror</em> has bee, ’s easy to fet jt how bold was for the time: the unambiguo pictn of polyamory, the stylized glimpse to drag, pl Rocky himself, the Speedo-wearg himbo prototype. The film’s tragic climax of self-exprsn, “<a href=">Fanfare / Don’t Dream It</a>,” shows <em>Rocky Horror</em>’s subversive heart. “Give yourself over to absolute pleasure/Swim the warm waters of ss of the flh,” Frank-N-Furter sgs, sportg a fur and stttg down a stairse drenched fog, “Erotic nightmar beyond any measure and sensual daydreams to treasure forever.” He s and stretch his arms wi at the thought: “Can’t you jt <em>see</em> ?” –Eric Torr</p><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a> <em>and</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Tim Square</em> (1980)</h2><p>Outstandg performanc, suggtive petal eatg, a betiful soundtrack, horrible edg—why, n only be a Lbian Film™! Allan Moyle’s <em>Tim Square</em> is glor shambl—not bad, jt <em>mp</em>. The film begs wh the two teenage-girl leads beg thrown to a psych ward for beg a ltle b silly wh —one of them plays guar, the other really wants to see <em>One Flew Over the Cuckoo’s Nt</em>. There’s a clear sapphic subtext—Nicky, the Joan Jett-d one, star at Pamela, the doe-eyed one, like she’s gog to vour her—but everyone this film, seems, is havg sex except for the lbians. (Like I said, ’s a Lbian Film; you’re probably ed to that by now.) If you n get off on subtext alone, go for , there’s plenty to go around here.</p></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="8zepf"></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ArticlePageChunksGrid-hfxa bDFJoo"><div class="GridItem-buujkM kHPPIF grid--em"><div class="BodyWrapper-kufPGa bCHUuY body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p>Asi om the actrs’ performanc, the soundtrack is <em>Tim Square</em>’s biggt draw (also, Tim Curry’s , and he’s really good, obvly). The Ramon, Roxy Mic, and Lou Reed all feature, makg this the punk rock, gyratg-ls equivalent of <em>Saturday Night Fever.</em> –Emma Madn</p><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a><em>, and</em> <a href=" target="_blank"><em>Google Play</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Fame</em> (1980)</h2><p>Whout <em>Fame</em>, there would be no <em>High School Mil</em> or <em>Step Up</em>. The 1980 mil directed by Alan Parker tells the stori of a fictnal group of stunts at New York Cy’s High School of the Performg Arts wh realism and empathy, settg the bar for all performg arts high school movi to e. While s most obvly queer storyle volv Montgomery MacNeil, a sensive drama stunt who anxly mentns beg gay a philosophil monologue to his classmat, the movie is rife wh other queer-d characters. There’s the pric Ralph Garci, who gets to burlque drag orr to bully and sce MacNeil. There’s also the fabulo dance stunt Leroy Johnson, played by Gene Anthony Ray, who has been scribed as a “flamboyantly mp” actor and choreographer that “bshed asi qutns about his sexualy.” After var personal vastatns and realy checks, the stunts reclare their ambns of stardom the film’s closg graduatn performance of the ELO-spired ballad “<a href=">I Sg the Body Electric</a>.” This endg msage of hope amid an uncerta future and boldly celebratg one's unique self mak <em>Fame</em> a classic film among queer viewers and anyone else who is always the procs of beg. –Michelle Hyun Kim</p><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a><em>, and</em> <a href=" target="_blank"><em>Google Play</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Can’t Stop the Mic</em> (1980)</h2><p>Sce s 1980 release, this mil starrg the Village People has ma regular appearanc on lists of the worst films of all time. Its substance as a movie has nearly been eclipsed by s stat, along wh the siarly nt <em>Xanadu</em>, as one of the spiratns for the Razzie Awards. Whether or not you agree wh s reputatn, there’s no nyg that <em>Can’t Stop the Mic</em> is one of the most unabashedly mpy films Hollywood ever produced. </p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-2 viewport-monor-anchor"></div><p>It’s a perfect embodiment of the pre-fabrited glz and over-the-top athetics of the Village People themselv, wh songs like “YMCA” and “I Love You to Death” renred as lorful dis fantasi that would make Vcente Mnelli weep. Directed by Nancy Walker, bt known as an actrs on <em>The Mary Tyler Moore Show</em>, ’s also the rare major Hollywood productn of s day helmed by a woman. Though much of the film is voted to a drearily heteronormative romance, by today’s standards ’s surprisg jt how much <em>Can’t Stop the Mic</em> lets the Village People be themselv. As wh the bigoted backlash to dis self, ’s hard not to feel like regrsive attus ntributed to the outsized hatred for such an nocently fun piece of Hollywood treacle. –Nade Smh</p></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="3n4r8"></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ArticlePageChunksGrid-hfxa bDFJoo"><div class="GridItem-buujkM kHPPIF grid--em"><div class="BodyWrapper-kufPGa bCHUuY body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a><em>, and</em> <a href=" target="_blank"><em>Google Play</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Liquid Sky</em> (1982)</h2><p><em>Liquid Sky</em> is as much a psychotronic sci-fi fever dream as is a vivid artifact om a New York that no longer exists. Set wh the downtown scene of the early ’80s, Rsian director Slava Tserman’s film is like a queerer take on <em>The Man Who Fell to Earth</em>. Alien vars search of a powerful dg hi out beneath 14th Street, disguised amid a bold kaleidospe of punk styl and androgyno inty. Even more entrancg than the film’s strikg lors and futuristic stum is s <a href=">unnny soundtrack</a>, posed on a primive digal d workstatn and rangg om creepy rnival mic to synth-pop bangers. Like the mil subcultur reflects, <em>Liquid Sky</em> is a thoroughly DIY affair produced on a shoe-strg budget, and s myth has sce spread among cult movie fans, New Wave obssiv, and queer cephil alike. –Nade Smh</p><p><em>Watch on</em> <a href=" target="_blank"><em>YouTube</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Victor/Victoria</em> (1982)</h2><p>By 1982, Julie Andrews was already somethg of a goody diva thanks to her star turns ’60s classics <em>The Sound of Mic</em> and <em>Mary Popps</em>, but <em>Victor/Victoria</em> certified her as a queer in as well. Unr the directn of her hband Blake Edwards, Andrews plays Victoria Grant, a starvg soprano stgglg to fd her break on the baret circu. Guid by the tutelage of Toddy (Robert Prton, another old-school mil star known for origatg the tle role  <em>The Mic Man</em>), Victoria attempts to turn her fortun around by prentg herself as a male performer. </p><p>In a lightful b of genr-bendg trickery, Andrews isn’t jt playg a woman pretendg to be a man, but a woman pretendg to be a man who works as a female impersonator, addg yet another level to the film’s exploratn of genred performance. Dpe the siar i, ’s nsirably lighter tone when pared to a film like <em>Cabaret</em>, but <em>Victor/Victoria</em> was a uniquely transgrsive role for an entertaer so synonymo wh fay-iendly classics. It’s a lovg tribute not jt to the burlque stag that gave birth to mil theater as an artform, but to performers of years past who phed the boundari of performance and inty alike. –Nade Smh</p><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Max</em></a><em>, and</em> <a href=" target="_blank"><em>Google Play</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Cy of Lost Souls</em> (1983)</h2><p>The unrsung non of German director and activist Rosa von Prnheim clus over 40 films, om his early veré-style tribute to trans in Tally Brown to an sential three-part AIDS documentary trilogy the early ’90s. Von Prnheim’s most strikg feature is 1983’s farcil genrqueer punk baret odyssey <em>Cy of Lost Souls</em>. It tak place grty Reagan-era Berl, where a group of Amerin expats drk, smoke, fuck, and sg r mil numbers together unr the learship of fabulo n mother Angie Stardt. The film gleefully ms to the mayhem of s premise, allowg for an anythg-go approach om his st of transgenr artists and drag superstars, playg exaggerated versns of themselv. The inic Jayne County, her only starrg role, livers r punk performanc at Stardt’s lightfully grotque Burger Queen shop, while the rt of the st—erotic trapeze acrobats, occultist performance artists—ratchet up the rnchy melodrama as their relatnships beg to acture. </p></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="slt348"></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ArticlePageChunksGrid-hfxa bDFJoo"><div class="GridItem-buujkM kHPPIF grid--em"><div class="BodyWrapper-kufPGa bCHUuY body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p>Each of the film’s madp mil scen is a sight to behold, but the real revelatns  <em>Cy of Lost Souls</em> lie s characters’ to-the-mera monologu and ank bat wh one another: about trans life and genr termism, racism and anti-Semism, homophobia and alienatn. Absurdist, chaotic, and unbelievably funny, von Prnheim’s pictn of queer chosen fay is jt as msy as n be real life. –Eric Torr</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-3 viewport-monor-anchor"></div><p><em>Watch on</em> <a href=" target="_blank"><em>YouTube</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Purple Ra</em> (1983)</h2><p>Dearly beloved, let be said: <em>Purple Ra</em>’s plot is as straight as they e, followg Prce (aka the Kid)’s ght relatnship wh sger Apollonia and the cycl of vlence that tear them apart. But take one look at him onstage at Mneapolis’ First Avenue club, drippg ffled shirts, heeled boots, and sktight pants, fallg to asmic ecstasy over every guar solo, and you see exactly why the rock mil remas one of the most vivid on-screen marriag of mic and sexualy.</p><p>Though hampered by shaky actg and some tly jarrg tonal shifts, Prce’s sheer style and sane stage prence make this more than jt an exercise mythmakg by one of the greatt pop stars to walk the pla. Wolfishly sexy as he blurs femme and masc intifiers, Prce’s erotic provotns are on full display as he amps up classics like “<a href=">Darlg Nikki</a>” and “<a href=">Let’s Go Crazy</a>” wh rakish energy. No one did like Prce, a fact ma abundantly clear throughout <em>Purple Ra</em>’s high-pched, neon-drenched melodrama. –Eric Torr</p><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a><em>, and</em> <a href=" target="_blank"><em>Google Play</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Hairspray</em> (1988)</h2><p>Wh this heartfelt o to the mic of his youth, John Waters entered his own pop art era, turng away om the liberate provotns of his early work to lorful stud spectacl. <em>Hairspray</em>, which follows the fearls Tracy Turnblad (Ricki Lake) as she sets out to nquer the stage of her favore dance show, may be ls offensive to nventnal sensibili than Waters’ <em>Pk Flamgos</em> or <em>Female Trouble</em>, but ’s still a transgrsive film about transgrsive people. Set 1962,  uld have been a <em>Happy Days</em>-style nostalgia trip, but stead foregrounds the polil tenor of the era, as Tracy fights for racial tegratn as well as her own regnn as a proudly self-proclaimed “pleasantly plump” girl. Waters’ me Dive turns an unfettable dual role as Edna, Tracy’s stern but lovg mother, and an anti-tegratn TV statn owner, while Debbie Harry is hilarly st as a nservative matriarch. –Nade Smh</p></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="v5o3q"></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ArticlePageChunksGrid-hfxa bDFJoo"><div class="GridItem-buujkM kHPPIF grid--em"><div class="BodyWrapper-kufPGa bCHUuY body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a><em>, and</em> <a href=" target="_blank"><em>Google Play</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>It Couldn’t Happen Here</em> (1988)</h2><p>English synth-pop duo Pet Shop Boys have always been uniquely cematic, regularly llaboratg wh filmmakers like Derek Jarman to produce vividly choreographed stage shows and mic vios that verge on high art. They were hardly the first act to explore the ncept of the longform vio, but <em>It Couldn’t Happen Here</em> tak Neil Tennant and Chris Lowe’s distctly queer sensibily and stretch to feature-length. Directed by journeyman filmmaker Jack Bond, the film pris songs om their classic albums <em>Please</em> and <em>Actually</em>, as the stone-faced micians roam around the yg English untrysi gettg ught up surreal hijks, not unlike a grty reboot of <em>A Hard Day’s Night</em>. Though the Pet Shop Boys wouldn’t e out publicly as gay until the ’90s, the subtext of anthems like “It’s a S” is hard to miss, and the bleakns of <em>It Couldn’t Happen Here</em> feels siarly rmed by the enormo amounts of loss brought on by both the AIDS crisis and the stctive reign of Margaret Thatcher. –Nade Smh</p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Anthem</em> (1991)</h2><p>All of Marlon Riggs’ works are nnected to mic and poetry: om <em>Long Tra Runng,</em> his but, a documentary about Oakland blu micians, to <em>Tongu Untied,</em> a val film by and about Black gay men that aired to acclaim and ntroversy on PBS 1989. He was diagnosed as HIV-posive that same year, and created <em>Anthem</em>, a sharp riff on the mic vio format, as part of a subsequent seri of films that epened his exploratns of race, sex, and reprentatn, cludg the stigma around HIV and AIDS. </p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-4 viewport-monor-anchor"></div><p>Pumpg wh upbeat hoe and dis, <em>Anthem</em> posns the mic as an irreprsible force, flickerg to the same rhythm as the overlaid spoken word poetry and scen of var dancers. (Their ranks clu the unparalleled ballroom choreographer <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Willi Nja</a> and Riggs himself, sportg a leather jacket and vogug ont of a backdrop spangled wh ACT UP pk triangl.) The experimental ne-mute vio is an example of Riggs’ manipulatn of tablished cematic forms to enable a missn of re—for yourself and the people you hold muny wh. As the legendary Essex Hemphill says directly to the mera, readg om his poem “<a href=">Amerin Weddg</a>”: “Every time we kiss, we nfirm the new world g.” –Eric Torr</p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Young Soul Rebels</em> (1991)</h2><p>Set London 1977, <em>Young Soul Rebels</em> foc on a pirate rad statn n by the Black, openly gay Caz and his half-whe, half-Black, straight bt iend Chris, who illegally brg soul and R&B hs to the mass. Set durg the Queen’s Silver Jubilee and spired by lumary queer director Isaac Julien’s days as a <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">soul boy</a> himself, the genre-blurrg movie is part murr mystery, part queer romance, and part mil love letter to a perd Brish history when Black style was velopg s own unmistakable inty. </p></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="h0oaw"></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ArticlePageChunksGrid-hfxa bDFJoo"><div class="GridItem-buujkM kHPPIF grid--em"><div class="BodyWrapper-kufPGa bCHUuY body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p>In a sharp, giallo-style openg, Caz’s iend is killed while cisg a lol park, kickg off a plot that troduc probg qutns that dispt the duo’s liv and persist today: Can you rely on police acuntabily when queer people are murred? How do margalized muni acknowledge and protect their own who hab multiple vulnerable inti at once? Julien gracefully handl the and other issu, addg further pth through Caz’s romance wh whe punk socialist Billibud, which unrsr racist and homophobic tennci the era’s punk scene. A untercultural gut punch wh geo visual style and an unimpeachable soundtrack spanng the O’Jays and the Blackbyrds to Sylvter and X-Ray Spex, <em>Young Soul Rebels</em> is as electrifygly relevant now as was 1991. –Eric Torr</p><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Zero Patience</em> (1993)</h2><p>A stttg dance sequence a steamy bathhoe, a pair of anthropomorphic sphcters serenadg one another bed— 1993’s <em>Zero Patience</em>, mp mil numbers and spectral enunters ame an outré look at the orig and velopment of the AIDS crisis as was happeng. After imbibg om the founta of youth, a sex rearcher om the Victorian era fds himself still alive the early ’90s, where he plans a mm exhib featurg “Patient Zero,” the French-Canadian flight attendant acced of troducg AIDS to North Ameri. He’s thrown to emotnal disarray once Patient Zero himself arriv as a ghost and the pair bee romantilly entwed. <em>Zero Patience</em> soon shifts to an dictment of the ernment’s mishandlg of AIDS, a crique that be clear when ACT UP-style activists sabotage the display (naturally, they <a href=">burst to song</a> the procs). Like <em>Angels Ameri</em> jected wh Talkg Heads-style dance rock, <em>Zero Patience</em> may be gleefully obv s takedowns, but ’s a ptivatg meta-mil about a dark chapter Amerin history and the queer will to survive. –Eric Torr</p><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a><em>, and</em> <a href=" target="_blank"><em>Google Play</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Blue</em> (1993)</h2><p>I once attend a screeng of Derek Jarman’s <em>Blue</em> where most of the straight upl the theater had left by the halfway mark. Surely, there’s no higher praise. As well as makg heterosexuals n for their liv, throughout his three- reer, Jarman was rponsible for givg Tilda Swton her first film role (<em>Caravagg</em>) and Brian Eno one of his first creds as a film poser (<em>Sebastiane</em>). But his greatt achievement was <em>Blue</em>, que lerally the sadst film of all time. </p><p>Ma 1993, when AIDS was gradually turng him bld, <em>Blue</em> was Jarman’s fal film—though ’s not so much a movg picture as a sgle screen, posed entirely of Yv Kle bright blue. Blue, Kle’s words, munit “what is most abstract,” which is also te of Jarman’s approach to mic. His films, which typilly feature mimal dialogue, prrize mic above speech. In <em>Blue</em>, Jarman llapsed the boundari between sound and image entirely, as he and mician Simon Fisher Turner created an elaborate soundspe ma of voice, breath, wav, and tickg clocks, placg the dory at the center of the athetic experience. The mic, rangg om a whisper to a thunrclap, is ever-prent, Jarman’s—and the viewer’s—nstant pann. –Emma Madn</p></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="v6trwa"></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ArticlePageChunksGrid-hfxa bDFJoo"><div class="GridItem-buujkM kHPPIF grid--em"><div class="BodyWrapper-kufPGa bCHUuY body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p><em>Watch on</em> <a href=" target="_blank"><em>YouTube</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>The Watermelon Woman</em> (1996)</h2><p>Cheryl Dunye’s <em>The Watermelon Woman</em>, a fictnal narrative about a documentary director, was the first film directed by a Black lbian for Black lbians. Dunye’s protagonist rearch a historil actrs who performed Hollywood “race” films the 1930s, and Dunye herself DIY-ed an entire leage—fx photos, ephemera, and 16mm footage—to brg the subject of her film-wh-a-film to life. This “Dunyementary” honors the many Black actrs who were pigeonholed by Jim Crow-era trop, their nam often erased om creds and the llective cematic memory. And go down like chicken soup for the Black sapphic soul, snaggg on every nuance of lbian culture wh a sharp edic edge. </p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-5 viewport-monor-anchor"></div><p>Wh an origal sre by jazz saxophonist Pl Shapiro, along wh soundtrack selectns spanng neo-soul, hoe, and hip-hop, <em>The Watermelon Woman</em> mak you feel like you’re ont row at a mid-’90s poetry slam, or scratchg your ch at the openg of a lbian art gallery. Its narrative leav qutns unanswered, wh a sense that there is more to say and do. Kathy Sledge’s <a href=">“Another Day,”</a> <em>The Watermelon Woman</em>’s spunky dis-pop theme, looks out to that horizon of queer possibily, punctuatg the film wh irrefutable soul. –Tatiana Lee Rodriguez</p><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a> <em>and</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Nowhere</em> (1997)</h2><p>The fluential New Queer Cema pneer Gregg Araki has said the spiratn behd each of his movi begs wh mic. Utilizg an ultra-ol soundtrack of dream pop, shoegaze, and punk, the California director’s postmornist Teen Apolypse Trilogy uned his French New Wave and pennt cema fluenc to grapple wh them of prsn and homophobia through humor and surrealism. Begng wh 1993’s <em>Totally Fucked Up</em> and 1995’s <em>The Doom Generatn</em>, the trilogy nclus wh 1997’s <em>Nowhere</em>, a Day-Glo bright 24-hour nightmare that follows Dark (Jam Duval, Araki’s me) and his circle of sexually fluid iends on a psychelic journey through Los Angel on Armageddon day. </p><p>Like “<em>Cluels</em> wh nipple rgs,” as <em>Paper</em> trely yet succctly put upon release, <em>Nowhere</em> ptur Araki operatg at his peak, where each unhged character is played by a who’s who of teen actors before they were famo (Christa Applegate, Mena Suvari, Ryan Phillippe), every le of dialogue is a dry one-ler, and the stum and handma sets get progrsively more lorful and plex as the night go on. But ’s Araki’s expert mic curatn that <em>Nowhere</em> be a te ’90s mic masterpiece: Massive Attack, Elasti, Hole, Radhead, the Chemil Brothers, and more heighten Araki’s full-throttle view of the world as a young queer person, where every moment holds the potential for both love and danger. –Eric Torr</p></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="xkjb"></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ArticlePageChunksGrid-hfxa bDFJoo"><div class="GridItem-buujkM kHPPIF grid--em"><div class="BodyWrapper-kufPGa bCHUuY body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p><em>Watch on</em> <a href=" target="_blank"><em>YouTube</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Happy Together</em> (1997)</h2><p>Throughout his sensuo filmography, Wong Kar-wai has ed cross-cultural llaboratns and vers—like Faye Wong’s Cantopop remake of the Cranberri’ “Dreams”  <em>Chungkg Exprs</em> or Malagasy mician Nogabe’s remix of Massive Attack’s “Karmaa”  <em>Fallen Angels</em>—to impart subtext about the nflictg motivatns of his characters. For <em>Happy Together</em>, the 1997 masterpiece that ma a movie star of queer pop sger Llie Chng, Wai employed the tense tango posns of Astor Piazzolla and the eic rock of Frank Zappa to reprent the tumultuo relatnship between Ho Po-wg (Chng) and Lai Yiu-Fai (Tony Lng), a gay uple om Hong Kong who clg to each other while strand abroad Argenta. </p><p>The melancholic and sctive acrdn Piazzolla’s mic unrsr the feelg behd their enzied dance of fightg, makg up, and relyg on each other for survival. Even their moments of greatt timacy are tged wh a sense of doom, as the inic kchen tango scene, where the two hold each other wh the safety of havg no wns, soundtracked by Piazzolla’s “Fale (Tango Apasnado).” That theme back around toward the film’s end when Fai gaz at the Iguazú Falls, the landmark that he always thought he would see wh his now-ex-lover. The moment offers a smidge of faly amid an elliptil plot that explor transnatnal alienatn, exile, terpersonal power dynamics, and belongg. –Michelle Hyun Kim</p><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Max</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Velvet Goldme</em> (1998)</h2><p>If histori are the fictns of empir—to paraphrase <em>Velvet Goldme’s</em> openg quote—then fanfictn is the history of queers, and Todd Hayn’ <em>Velvet Goldme</em> operat on both fan logic and fan time. To boil this plited film down to s simplt sence: <em>Velvet Goldme</em> is a fake Bowie bpic told through the ey of a stan. From s tle to the spiky, dykey wigs, high-glam dandyism, and spachips, every part of <em>Velvet Goldme</em> gtur towards Bowie whout ever mentng his name. Ziggy’s also a noticeable absence om the glammy, perd-specific soundtrack, and that absence grants Hayn the opportuny to tell new, ludicro versns of history. Multiple supergroups formed to reimage songs by Roxy Mic, the Stoog, and T. Rex for the film—cludg actual members of Roxy Mic and the Stoog, not to mentn Thom Yorke, Thurston Moore, and Michael Stipe as a producer. </p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-6 viewport-monor-anchor"></div><p>Set 1970s London, the film time-travels between Osr Wil’s 1850s Dubl and Orwellian 1980s New York, drawg lks between queer theory, glamor and Brpop Bra. <em>Velvet Goldme</em> is a glterg and prismatic retellg of events, relyg ls on fact than fannish affect. The film eply and timately unrstands queerns and glamor—and so, eply and timately unrstands Bowie. –Emma Madn</p></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="fs42fj"></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ArticlePageChunksGrid-hfxa bDFJoo"><div class="GridItem-buujkM kHPPIF grid--em"><div class="BodyWrapper-kufPGa bCHUuY body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a> <em>and</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Y Tu Mamá También</em> (2001)</h2><p>Sometim tak a third person to unlock the tth of a close relatnship. In Alfonso Cuarón’s <em>Y Tu Mamá También</em>, ’s Luisa, an olr Spanish woman, who both dispts and talyz the bond between Tenoch and Jul, two Mexin teenage iends who jerk off together and talk obssively about havg sex wh women as an outlet for their own brewg sexual tensn. Driven by the fantasy of Luisa, the horny lads part wh this relative stranger on a weed-fueled road trip through the Mexin untrysi. </p><p>An eclectic soundtrack acpani their voyage: the electronic alt-rock of Café Tacuba and Plastila Mosh, the kschy dance tun of Señor Conut, the norteño of Fla Jiménez, and somber picks om Natalie Imbglia and Brian Eno. When Luisa gas an emotnal upper hand between the two boys, she lays down new ground l: “I choose the mic” is one of them. The film nsummat the threome’s creasgly entangled dynamic wh a dance scene set to Mar Anton Solís’ sultry ballad “Si no te hubieras ido,” which ends wh a kiss between the two boys. The moment is glorly msy and revelatory to this day, when onscreen pictns of polyamoro bisexualy are still rare the mastream. –Michelle Hyun Kim</p><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a><em>, and</em> <a href=" target="_blank"><em>Google Play</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Hedwig and the Angry Inch</em> (2001)</h2><p>John Cameron Mchell’s <em>Hedwig and the Angry Inch</em> reprented a major breakthrough for trans cema at the turn of the century. As both a stage mil and a feature film, <em>Hedwig</em> has endured for the simple reason that brought a eply felt and fully realized genrqueer character to life a way few Amerin productns prevly had. The tular Hedwig, played by the mil’s creator and director, is a fiant rock star who liv between cultur and genrs, a trans East German emigre stgglg to make Middle Ameri. Wh a soundtrack spired by David Bowie and Iggy Pop, <em>Hedwig and the Angry Inch</em> is a livg ttament to the queerns of glam rock, a sound that blurred the l of mil genre and genr prentatn to somethg bedazzled and new. –Nade Smh</p><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a><em>, and</em> <a href=" target="_blank"><em>Google Play</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>The Adventure of Iron Psy</em> (2003)</h2><p>Apichatpong Weerasethakul is known as a visnary of slow cema, whose films <em>Memoria</em> and <em>Syndrom and a Century</em> are envelopg sensory experienc. But the rtlsly ventive and prolific Thai filmmaker, whose body of work clus everythg om gallery stallatns to virtual realy, is impossible to classify. 2003’s <em>The Adventure of Iron Psy</em>, a psychelic mil pastiche and ndy-ated queer romance, is one of his most unpredictable and overlooked works. </p></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="h2oiw"></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ArticlePageChunksGrid-hfxa bDFJoo"><div class="GridItem-buujkM kHPPIF grid--em"><div class="BodyWrapper-kufPGa bCHUuY body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p>The film is a llaboratn wh pneerg Thai visual artist Michael Shaowanasai, who plays the tular character, a gay 7-Eleven clerk wh a female secret agent alter-ego. The filmmakers set out to queer the exprsive Thai melodramas and movie-mils they grew up on, landg somewhere between Douglas Sirk, Jam Bond, and Gregg Araki. For as liberately mpy and unrtraed as <em>The Adventure of Iron Psy</em> might be, ’s of a piece wh Apichatpong’s better-known medatns, a spectacle of lor and light that stimulat the sens as much as entertas. –Nade Smh</p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Bsie</em> (2015)</h2><p>Queen Latifah’s ia for a bpic about the legendary blu sger Bsie Smh had been floatg around film studs for 20 years before Dee Re rewrote s script. Comg off of her breakout feature, the Black lbian g-of-age story <em>Pariah</em>, Re picted Smh’s rise to fame as a dark-skned bisexual woman the 1920s, examg the ways that her tumultuo backstory rmed the subject matter of her soulful songs, which often foced on workg women’s pennce and sexualy. Smh’s legacy as “the Emprs of the Blu” stems part om the implic polil prott her songs, her assertive lyrics and ntralto vols—once siled for beg arse—givg voice to Southern Black muni. Latifah’s remak don’t attempt to replite that same vol flair, but perhaps ’s better that her flectns on songs like “Young Woman’s Blu” and “Work Hoe Blu” are te to her range, round and bright like a brass stment. A scene which Smh and fellow bisexual blu in Ma Raey (played by Mo’Nique, wh sgg om Carmen Twillie) don sus and top hats for a game of rds offers joyfully bonair masc reprentatn the lik of which is rare to enunter on-screen. Keep some tissu around as you take all . –Tatiana Lee Rodriguez</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-7 viewport-monor-anchor"></div><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Max</em></a><em>, and</em> <a href=" target="_blank"><em>Google Play</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>100 Boyiends Mixtape</em> (2016)</h2><p>Who else bis Brontez Purnell uld take clips of ass eatg, stir yg veggi, and plag about paramours, splice them together over disrdant jazz mic, and have actually <em>work</em>? Sce the 2003 lnch of his longnng cult ze <em>Fag School</em>, the Oakland artist who do absolutely everythg—wrg, directg, leadg punk bands, dancg—has tablished his madp DIY athetic and love for airg out his short-lived hookups. But he’s expand this serly unser missn of archivg all his sexual explos through <em>100 Boyiends Mixtape</em>, a project spanng three short films om 2015 to 2023. </p></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="3petfp"></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ArticlePageChunksGrid-hfxa bDFJoo"><div class="GridItem-buujkM kHPPIF grid--em"><div class="BodyWrapper-kufPGa bCHUuY body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p>Through the entri, Purnell queers the form of standard d “mixtape” by foldg poetry, vio, and smattergs of electric guar and dms. Really, ’s whatever tak to relay the tumultuo nature of his love life, and the btal, hilar stori llected along the way. This boundls approach to artmakg, as well as his unflchg vulnerabily, has led Purnell to bee a cult DIY in: Few n make to the Crern Collectn wh a self-starrg short about a HIV-posive Black gay man who gabs on the phone for 10 mut straight, while shrk-ftg a pair of shoplifted jeans his bathtub. –Michelle Hyun Kim</p><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Crern Collectn</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Song Lang</em> (2018)</h2><p>The Vietname folk opera form <em>cải lương</em> is the drivg force behd the short-lived yet signifint romance at the center of <em>Song Lang</em>, a slow-burng drama set 1980s Saigon. Its tle is taken om the woon percsn stment, whose name n be lerally translated to “two men,” that keeps the rhythm the theater performanc. The film ially vacillat between wildly different pac, om the breakneck actn scen of the roughhog bt-llector Dũng “Thunrbolt,” and the languid, melodramatic performanc of Lh Phung, the star of a lol <em>cải lương</em> pany. Yet the two fd a mon tempo when Phung learns that Thunrbolt grew up the <em>cải lương</em> tradn, and their nnectn blossoms through playg melancholic mic together. It’s a betiful ttament to how mic n spark a bond between potential lovers, and how one tsted creative partner n unlock a world of feelg hidn behd a harned heart. –Michelle Hyun Kim</p><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a><em>, and</em> <a href=" target="_blank"><em>Google Play</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>And Then We Danced</em> (2019)</h2><p><em>And Then We Danced</em> follows Merab (Levan Gelbakhiani), a young dancer trag at the Natnal Geian Ensemble, who eventually bucks the rigidly mascule forms of tradnal Geian dance to fd a fluid and queer style all his own. The soundtrack to director Levan Ak’s drama heavily featur tradnal Geian mic, whose tense doli dmmg offers the backdrop for the heteronormative duets that Merab feels he mt perfect. Irakli (Bachi Valishvili), a replacement dancer wh whom Merab mt pete wh for a spot the ensemble, awakens Merab’s dormant queer feelgs. </p><p>Their blossomg flg begs wh ABBA’s 1977 dis anthem “Take a Chance On Me,” and is then ma real wh a stunngly sensual scene which Merab starts to fd his eedom by playfully dancg to Robyn’s “Honey” while Iralki watch. Merab ntu to fe his own inty by ravg to techno at Bassiani, one of Tbilisi’s only LGBTQ+ spac, and then by pletely flubbg his dn to prent an off-script ntemporary route. A transcennt tale of quiet rebelln, <em>And Then We Danced</em> reveals the self-disvery that n occur through the personal act of dance. –Michelle Hyun Kim</p></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="ucmf"></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ArticlePageChunksGrid-hfxa bDFJoo"><div class="GridItem-buujkM kHPPIF grid--em"><div class="BodyWrapper-kufPGa bCHUuY body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a><em>, and</em> <a href=" target="_blank"><em>Google Play</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Ema</em> (2019)</h2><p>The tle character of Pablo Larraín’s <em>Ema</em> don’t want a spotlight or a stage when she danc—she’d rather have a flamethrower her hand, and to take to the streets. Set prent-day Chile, this 2019 drama about a dancer and bisexual mother procsg a fay tragedy is a btn of grief and sire, gently amed by an ambient reggaeton sre om Nilás Jaar. <em>Ema</em>’s emphasis on nstant movement expands the possibily of dance, fay, and sexualy, s ma character fluctuatg between creative birth and stctn, stct and stcture. The strgs of “Separación” rise and fall like an aimls sailboat, moored by the cshg weight of nsequence; the foamy shor of “Gavtas” allot time for the protagonist to adjt her ner pass toward sire. Across the film, Jaar’s panoramic ambient univers mirror the stag of Ema’s emotnal turmoil. –Tatiana Lee Rodriguez</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-8 viewport-monor-anchor"></div><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a><em>, and</em> <a href=" target="_blank"><em>Google Play</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Neptune Frost</em> (2021)</h2><p>This genre-blendg Aofuturist mashup has the makgs of a queer cult classic. Wrten and directed by rapper-poet Sl Williams and Rwandan filmmaker Anisia Uzeyman, <em>Neptune Frost</em> is many thgs at once: a magil-realist tale about the Wtern world explog rourc om Bundi; a love story between an tersex hacker and a ltan mer; and a dazzlg hip-hop-spired mil wh mmerizg songs and ketic dance sequenc. The film visualiz a cematic language all s own, g trite handcrafted stum ma out of damaged electronics and tense merawork that dips and soars sync wh the mic’s irristible rhythm. It’s an anarchic, optimistic visn of a queer-led techno future that seems not only possible, but already existence. –Eric Torr</p><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Crern Channel</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a><em>, and</em> <a href=" target="_blank"><em>Google Play</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Tár</em> (2022)</h2><p>Whenever a film blows up on Twter, ’s easy to feel spic when fally stg down to watch . Are people talkg about bee ’s a good movie or bee ’s a disurse enty? <em>Tár</em>, of urse, is both. Director Todd Field’s film sentially prefigured s own disurse and receptn: All of the rrpondg op-eds on ncel culture, the culture wars, and bad butch reprentatn were sentially built . Starrg Cate Blanchett as the tular well-tailored Berl daddy, <em>Tár</em> spotlights the poser’s fall om grace followg a stunt’s suici and a slew of allegatns of sexual misnduct. Field really has out for his protagonist, punishg her every step of the way. The film is eply sexls—neher Lydia Tár’s sex life nor her transgrsns are ever picted; stead, sex is merely, and sickengly, implied. The last lgh featur a crowd of splayg gamers, and a creepg sense that maybe Tár was never a great poser at all. –Emma Madn</p><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a><em>, and</em> <a href=" target="_blank"><em>Google Play</em></a></p></div></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 PaywallInleBarrierWhWrapperGrid-fyrGfS jyGBoi"><div class="GridItem-buujkM kHPPIF grid--em"><div class="body body__le-barrier article__body article__body--grid-margs"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div 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data-ponent-type="recirc-river" data-recirc-id="em-hed-1" data-recirc-pattern="summary-em" href=" target="_self"><div data-ttid="ClampWrapper" class="ClampWrapper-kZxfkB hTTNGO clamp SummaryItemHedBase-hiFYpQ lfbrty summary-em__hed"><div class="ClampContent-hilPkr jVhSBH"><div class="SummaryItemHedTag-TWblf gxaOcP" data-ttid="SummaryItemHed">The 30 Bt Movie Performanc by Rappers</div></div></div></a><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY jCKKIz summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH CViXj byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd gebkj gnILss byle__preamble">By </span>Alphonse Pierre</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hmmRSZ summary-em summary-em--has-le summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm XIzKh" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz gKnDpj"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><img alt="Jt Timberlake and Sky Ferreira Star Trailer for New Netflix Movie Reptile" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX irmJOI bric SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">News</span></div><a class="SummaryItemHedLk-civM kHqDAk summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href=" target="_self"><div data-ttid="ClampWrapper" class="ClampWrapper-kZxfkB hTTNGO clamp SummaryItemHedBase-hiFYpQ lfbrty summary-em__hed"><div class="ClampContent-hilPkr jVhSBH"><div class="SummaryItemHedTag-TWblf gxaOcP" data-ttid="SummaryItemHed">Jt Timberlake and Sky Ferreira Star Trailer for New Netflix Movie <em>Reptile</em></div></div></div></a><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY jCKKIz summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH CViXj byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd gebkj gnILss byle__preamble">By </span>Matthew Strss</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hmmRSZ summary-em summary-em--has-le summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm XIzKh" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz gKnDpj"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><img alt="8 Overlooked Rap Mixtap You Need to Hear" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX irmJOI bric SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">The Pch</span></div><a class="SummaryItemHedLk-civM kHqDAk summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div data-ttid="ClampWrapper" class="ClampWrapper-kZxfkB hTTNGO clamp SummaryItemHedBase-hiFYpQ lfbrty summary-em__hed"><div class="ClampContent-hilPkr jVhSBH"><div class="SummaryItemHedTag-TWblf gxaOcP" data-ttid="SummaryItemHed">8 Overlooked Rap Mixtap You Need to Hear</div></div></div></a><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY jCKKIz summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH CViXj byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd gebkj gnILss byle__preamble">By </span>Alphonse Pierre</span></span></p></div></div></div></div></div></div><div class="AdWrapper-dQtivb fZrssQ SummaryCollectnGridSummaryItem-WColm XIzKh ad ad--read-more"><div class="ad__slot ad__slot--read-more" data-no-id="stp71"></div></div><div class="SummaryItemWrapper-iwvBff hmmRSZ summary-em summary-em--has-le summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm XIzKh" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz gKnDpj"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><img alt="Bradley Cooper Is Leonard Bernste New Netflix Movie Matro" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX irmJOI bric SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">News</span></div><a class="SummaryItemHedLk-civM kHqDAk summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-4" data-recirc-pattern="summary-em" href=" target="_self"><div data-ttid="ClampWrapper" class="ClampWrapper-kZxfkB hTTNGO clamp SummaryItemHedBase-hiFYpQ lfbrty summary-em__hed"><div class="ClampContent-hilPkr jVhSBH"><div class="SummaryItemHedTag-TWblf gxaOcP" data-ttid="SummaryItemHed">Bradley Cooper Is Leonard Bernste New Netflix Movie <em>Matro</em></div></div></div></a><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY jCKKIz summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH CViXj byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd gebkj gnILss byle__preamble">By </span>Matthew Strss</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hmmRSZ summary-em summary-em--has-le summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm XIzKh" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-5" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz gKnDpj"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><img alt="Bobby Eli, MFSB and Philalphia Internatnal Guarist, Di at 77" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX irmJOI bric SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">News</span></div><a class="SummaryItemHedLk-civM kHqDAk summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-5" data-recirc-pattern="summary-em" href=" target="_self"><div data-ttid="ClampWrapper" class="ClampWrapper-kZxfkB hTTNGO clamp SummaryItemHedBase-hiFYpQ lfbrty summary-em__hed"><div class="ClampContent-hilPkr jVhSBH"><div class="SummaryItemHedTag-TWblf gxaOcP" data-ttid="SummaryItemHed">Bobby Eli, MFSB and Philalphia Internatnal Guarist, Di at 77</div></div></div></a><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY jCKKIz summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH CViXj byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd gebkj gnILss byle__preamble">By </span>Jazz Monroe</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hmmRSZ summary-em summary-em--has-le summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm XIzKh" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-6" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz gKnDpj"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><img alt="Chappell Roan’s Glorly Unser Pop" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX irmJOI bric SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">The Pch</span></div><a class="SummaryItemHedLk-civM kHqDAk summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-6" data-recirc-pattern="summary-em" href=" target="_self"><div data-ttid="ClampWrapper" class="ClampWrapper-kZxfkB hTTNGO clamp SummaryItemHedBase-hiFYpQ lfbrty summary-em__hed"><div class="ClampContent-hilPkr jVhSBH"><div class="SummaryItemHedTag-TWblf gxaOcP" data-ttid="SummaryItemHed">Chappell Roan’s Glorly Unser Pop</div></div></div></a><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY jCKKIz summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH CViXj byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd gebkj gnILss byle__preamble">By </span>Cat Zhang</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hmmRSZ summary-em summary-em--has-le summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm XIzKh" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-7" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz gKnDpj"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><img alt="The 45 Bt Albums of 2023 So Far" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX irmJOI bric SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Lists & Guis</span></div><a class="SummaryItemHedLk-civM kHqDAk summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-7" data-recirc-pattern="summary-em" href=" target="_self"><div data-ttid="ClampWrapper" class="ClampWrapper-kZxfkB hTTNGO clamp SummaryItemHedBase-hiFYpQ lfbrty summary-em__hed"><div class="ClampContent-hilPkr jVhSBH"><div class="SummaryItemHedTag-TWblf gxaOcP" data-ttid="SummaryItemHed">The 45 Bt Albums of 2023 So Far</div></div></div></a><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY jCKKIz summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH CViXj byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd gebkj gnILss byle__preamble">By </span>Anna Ga</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hmmRSZ summary-em summary-em--has-le summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm XIzKh" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-8" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz gKnDpj"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><img alt="The 18 Bt Moments From Pchfork Mic Ftival 2023" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX irmJOI bric SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Ftival Report</span></div><a class="SummaryItemHedLk-civM kHqDAk summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-8" data-recirc-pattern="summary-em" href=" target="_self"><div data-ttid="ClampWrapper" class="ClampWrapper-kZxfkB hTTNGO clamp SummaryItemHedBase-hiFYpQ lfbrty summary-em__hed"><div class="ClampContent-hilPkr jVhSBH"><div class="SummaryItemHedTag-TWblf gxaOcP" data-ttid="SummaryItemHed">The 18 Bt Moments From Pchfork Mic Ftival 2023</div></div></div></a><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY jCKKIz summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH CViXj byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd gebkj gnILss byle__preamble">By </span>Pchfork</span></span></p></div></div></div></div></div></div></div><div class="SummaryCollectnGridToActnWrapper-gnReGN eGayfk"></div></div></div></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="TaboolaWrapper-hMVdpE iYfBhy"><div class="TaboolaWidgetWrapper-egPIjc hkSrgt 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class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd gebkj gnILss byle__preamble">By </span><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM ByleLk-gEnFiw iUEiRd JArb kUYkyS eErqIx byle__name-lk button" href="/staff/eric-torr/">Eric Torr</a></span>, <span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM ByleLk-gEnFiw iUEiRd JArb kUYkyS eErqIx byle__name-lk button" href="/staff/nade-smh/">Nade Smh</a></span>, <span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM ByleLk-gEnFiw iUEiRd JArb kUYkyS eErqIx byle__name-lk button" href="/staff/tatiana-rodriguez/">Tatiana Lee Rodriguez</a></span>, <span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM ByleLk-gEnFiw iUEiRd JArb kUYkyS eErqIx byle__name-lk button" href="/staff/michelle-kim/">Michelle Hyun Kim</a></span>, and <span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM ByleLk-gEnFiw iUEiRd JArb kUYkyS eErqIx byle__name-lk button" href="/staff/emma-madn/">Emma Madn</a></span></span></p></div><time data-ttid="ContentHearPublishDate" dateTime="2023-06-05T11:04:39-04:00" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHearPublishDate-eIBicG iUEiRd jIyViq eMOiwD">June 5, 2023</time></div></div><div class="SocialInsWrapper-hKMEXV ffgPVr social-ins social-ins--standard ContentHearAccredatnSocialIns-jorO fPzfaa ntent-hear__social-share"><ul data-ttid="socialInslist" class="SocialInsList-cHVTIA ivmblD social-ins__list"><li class="SocialInsListItem-mbhR fxaFQj social-ins__list-em social-ins__list-em--facebook social-ins__list-em--standard"><a aria-label="Share on Facebook" class="external-lk SocialInExternalLk-huuzOU lobXkm social-ins__lk social-ins__lk--facebook" 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960w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w, 1920w, 2240w" siz="100vw"/><img alt="An illtrated reel of film wh a pk triangle Rocky Horror lips and more" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></div></div></span><div class="CaptnWrapper-jSZdqE wZGox ptn ContentHearLeadAssetCaptn-hPWmSN jwFdza"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd kHsNUl fNaHcW ptn__cred">Image by Mara Kozak</span></div></div></figure></div></div><asi class="PersistentAsiWrapper-VGrR oEIBz persistent-asi persistent-asi--align-left" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jNgrSF sticky-box ContentHearPersistentAsi-fsnAmQ dFzKzm"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="SocialInsWrapper-hKMEXV ffgPVr social-ins social-ins--has-background ContentHearSocialIns-jzJiyg fgMkJI 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15.88 13.032C14.5746 12.9664 13.2976 12.6269 12.132 12.0356C10.9663 11.4444 9.93808 10.6145 9.114 9.60003C8.69297 10.3223 8.56366 11.1782 8.7525 11.9926C8.94134 12.8071 9.43407 13.5187 10.13 13.982C9.60866 13.9664 9.0987 13.8258 8.643 13.572V13.614C8.64319 14.3718 8.90547 15.1063 9.38536 15.6928C9.86525 16.2793 10.5332 16.6818 11.276 16.832C10.7924 16.9633 10.2852 16.9825 9.793 16.888C10.0027 17.5404 10.411 18.1109 10.961 18.5197C11.5109 18.9286 12.1749 19.1552 12.86 19.168C11.6971 20.0805 10.2611 20.5754 8.783 20.573C8.518 20.573 8.257 20.558 8 20.528C9.5011 21.4921 11.248 22.0038 13.032 22.002" fill="black"></path></svg></div></a></li></ul></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN kJkLmH article-body__ntent"><div class="ArticlePageChunksContent-etcMtP bwyLBj"><div data-ttid="ArticlePageChunks" class="ArticlePageChunks-fLyCVG eSsnKa"><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ArticlePageChunksGrid-hfxa bDFJoo"><div class="GridItem-buujkM kHPPIF grid--em"><div class="BodyWrapper-kufPGa bCHUuY body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p>As queer people, some of the most pivotal moments of our liv occur spac where mic fills every rner: Movg as one a heated club wh your chosen fay, sgg along wh your lol drag queen, prsed agast a throng of bodi at a life-givg ncert—when to exprsg ourselv, mic’s rapturo lights have always offered a clear path toward pe and ecstasy.</p><p>Queer cema, an elastic tch-all for movi that foc on any mo of non-heterosexual sire, has often intified this tth wh cunng ventivens. While the very first queer films stretch back more than 100 years, wasn’t until the advent of popular mic the mid-20th century that they beme more explicly <em>about</em> mic. In pictg those vigoratg moments on film (and creatg their own), the movi showse the diverse ways mic fds s way to our liv: From Marlon Riggs’ electrifyg vio art mergg dance mic and poetry to Derek Jarman’s cshg bo of abstract sound and image, there is no lim to the ways queer film tertw mic and visuals to one enlivened work of art. </p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p>In an effort to pture that eclectic spe, Pchfork has piled 30 stellar exampl of the form, begng 1965. Prented chronologilly, this list clus both short and full-length films, rangg om mpy mils and cult movi wh a genr-bendg edge, to gay fever dreams of fandom and the ntemporary lbian classics of the Crern Channel. This llectn do not exclively feature queer-intifyg directors; stead, we foced on a mix of work om across the globe that has ma a mark on filmmakg and mic, mergg the two to highlight a queer pot of view. Thk of this as your official starter pack for a ep dive to the oceans of queer cema, wh impecble soundtracks, unfettable performers, and electrifyg dance sequenc to keep you movg.</p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Ktom Kar Kommandos</em> (1965)</h2><p>In 1965, the queer avant-gar pneer Kenh Anger directed a three-mute homoerotic nstctn of hetero Amerin male fantasi that doubl as an urtext for the mic vio as we know . Anger was given $10,000 by the Ford Foundatn to make a quick film about their rs; the Amerin manufacturer was fdg s footg amid a ph of factory-built mols, churng out shapely, chrome-plated beti that quickly beme a fetish object of post-war masculy. The director, meanwhile, was workg on what would bee his ceremonial Magick Lantern Cycle, a sequence of hallucatory 16mm short films that clud 1963’s <em>Srp Risg</em>, featurg a Nazi biker gang gettg their ppance via a homoerotic occult group.</p><div class="Contaer-bkChBi byNLHx"></div><p>That sential document of early queer cema, peppered wh blasts of pop and rock’n’roll mic, gave way to <em>Ktom Kar Kommandos</em>, Anger’s transgrsive e of all that Ford money—most of which, legend has , went to his own livg expens. Set to the dulcet girl-group ton of the Paris Sisters’ “Dream Lover,” the short wh a KKK-alludg tle imag a pastel pk daydream which a blond-haired boy buffs and r for his hearse-like r wh tense romantic longg and overt gay imagery. There are plenty of close-ups of the vehicle’s most erotic protsns, pl long pans of the boy’s ass clad tight blue jeans. “I want a dream lover,” the Paris Sisters sg yearngly as Anger’s protagonist toys wh a phallic gear stick. “I want a boy to ll my own.” –Eric Torr</p></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="sbf1k"></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ArticlePageChunksGrid-hfxa bDFJoo"><div class="GridItem-buujkM kHPPIF grid--em"><div class="BodyWrapper-kufPGa bCHUuY body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p><em>Watch on</em> <a href="><em>YouTube</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div><div class="CaptnWrapper-jSZdqE wZGox ptn AssetEmbedCaptn-fNQBPI dDrfgT asset-embed__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd kHsNUl fNaHcW ptn__cred">Photo by LMPC via Getty Imag</span></div></figure></div><h2><em>Cabaret</em> (1972)</h2><p><em>Cabaret</em> is unual among film adaptatns of Broadway mils for s attentn to cematic style, foregroundg Bob Fosse’s directorial visn whout losg s roots the theater. Fosse, who was an acplished dancer, choreographer, and stage director before he broke to filmmakg, was uniquely well-posned to adapt the acclaimed show, self spired by Christopher Isherwood’s memoirs of Weimar-era Berl. His sense of ternal rhythm is unparalleled, both his vivid stagg of numbers like “<a href=">Maybe This Time</a>” and the visceral cuts of his edg. Liza Mnelli’s fiantly charismatic turn as Sally Bowl, perhaps more than any of her other rol, ma her a beloved diva and queer in. Unlike many other classic movie mils, <em>Cabaret</em> endur not bee of s mp or spectacle, but s bracg realns: Its story of self-disvery, set agast the rise of fascism, remas tragilly relevant today. –Nade Smh</p><div class="AdWrapper-dQtivb fZrssQ ad ad---ntent"><div class="ad__slot ad__slot---ntent" data-no-id="cxt64f"></div></div><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a><em>, and</em> <a href=" target="_blank"><em>Google Play</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div><div class="CaptnWrapper-jSZdqE wZGox ptn AssetEmbedCaptn-fNQBPI dDrfgT asset-embed__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd kHsNUl fNaHcW ptn__cred">Photo by LMPC via Getty Imag</span></div></figure></div><h2><em>The Rocky Horror Picture Show</em> (1975)</h2><p>Is there any image queer cema as lible as Dr. Frank-N-Furter’s entrance  <em>The Rocky Horror Picture Show</em>? Watch light as Tim Curry, face fully beat, toss off his cloak to reveal a btier, fish-clad legs, skyscraper heels, and a wicked se, sendg whebread uple Ja and Brad to a straight panic. One of the earlit on-screen exprsns of mp excs, the glam-rock edy-cum-midnight-sgalong revolv around Curry’s high-wire performance; he leads his bal of sexually liberated weirdos wh real emotn lurkg unr his vville villay. </p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p>For as popular (and at tim crgey) as <em>Rocky Horror</em> has bee, ’s easy to fet jt how bold was for the time: the unambiguo pictn of polyamory, the stylized glimpse to drag, pl Rocky himself, the Speedo-wearg himbo prototype. The film’s tragic climax of self-exprsn, “<a href=">Fanfare / Don’t Dream It</a>,” shows <em>Rocky Horror</em>’s subversive heart. “Give yourself over to absolute pleasure/Swim the warm waters of ss of the flh,” Frank-N-Furter sgs, sportg a fur and stttg down a stairse drenched fog, “Erotic nightmar beyond any measure and sensual daydreams to treasure forever.” He s and stretch his arms wi at the thought: “Can’t you jt <em>see</em> ?” –Eric Torr</p><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a> <em>and</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Tim Square</em> (1980)</h2><p>Outstandg performanc, suggtive petal eatg, a betiful soundtrack, horrible edg—why, n only be a Lbian Film™! Allan Moyle’s <em>Tim Square</em> is glor shambl—not bad, jt <em>mp</em>. The film begs wh the two teenage-girl leads beg thrown to a psych ward for beg a ltle b silly wh —one of them plays guar, the other really wants to see <em>One Flew Over the Cuckoo’s Nt</em>. There’s a clear sapphic subtext—Nicky, the Joan Jett-d one, star at Pamela, the doe-eyed one, like she’s gog to vour her—but everyone this film, seems, is havg sex except for the lbians. (Like I said, ’s a Lbian Film; you’re probably ed to that by now.) If you n get off on subtext alone, go for , there’s plenty to go around here.</p></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="8zepf"></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ArticlePageChunksGrid-hfxa bDFJoo"><div class="GridItem-buujkM kHPPIF grid--em"><div class="BodyWrapper-kufPGa bCHUuY body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p>Asi om the actrs’ performanc, the soundtrack is <em>Tim Square</em>’s biggt draw (also, Tim Curry’s , and he’s really good, obvly). The Ramon, Roxy Mic, and Lou Reed all feature, makg this the punk rock, gyratg-ls equivalent of <em>Saturday Night Fever.</em> –Emma Madn</p><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a><em>, and</em> <a href=" target="_blank"><em>Google Play</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Fame</em> (1980)</h2><p>Whout <em>Fame</em>, there would be no <em>High School Mil</em> or <em>Step Up</em>. The 1980 mil directed by Alan Parker tells the stori of a fictnal group of stunts at New York Cy’s High School of the Performg Arts wh realism and empathy, settg the bar for all performg arts high school movi to e. While s most obvly queer storyle volv Montgomery MacNeil, a sensive drama stunt who anxly mentns beg gay a philosophil monologue to his classmat, the movie is rife wh other queer-d characters. There’s the pric Ralph Garci, who gets to burlque drag orr to bully and sce MacNeil. There’s also the fabulo dance stunt Leroy Johnson, played by Gene Anthony Ray, who has been scribed as a “flamboyantly mp” actor and choreographer that “bshed asi qutns about his sexualy.” After var personal vastatns and realy checks, the stunts reclare their ambns of stardom the film’s closg graduatn performance of the ELO-spired ballad “<a href=">I Sg the Body Electric</a>.” This endg msage of hope amid an uncerta future and boldly celebratg one's unique self mak <em>Fame</em> a classic film among queer viewers and anyone else who is always the procs of beg. –Michelle Hyun Kim</p><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a><em>, and</em> <a href=" target="_blank"><em>Google Play</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Can’t Stop the Mic</em> (1980)</h2><p>Sce s 1980 release, this mil starrg the Village People has ma regular appearanc on lists of the worst films of all time. Its substance as a movie has nearly been eclipsed by s stat, along wh the siarly nt <em>Xanadu</em>, as one of the spiratns for the Razzie Awards. Whether or not you agree wh s reputatn, there’s no nyg that <em>Can’t Stop the Mic</em> is one of the most unabashedly mpy films Hollywood ever produced. </p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-2 viewport-monor-anchor"></div><p>It’s a perfect embodiment of the pre-fabrited glz and over-the-top athetics of the Village People themselv, wh songs like “YMCA” and “I Love You to Death” renred as lorful dis fantasi that would make Vcente Mnelli weep. Directed by Nancy Walker, bt known as an actrs on <em>The Mary Tyler Moore Show</em>, ’s also the rare major Hollywood productn of s day helmed by a woman. Though much of the film is voted to a drearily heteronormative romance, by today’s standards ’s surprisg jt how much <em>Can’t Stop the Mic</em> lets the Village People be themselv. As wh the bigoted backlash to dis self, ’s hard not to feel like regrsive attus ntributed to the outsized hatred for such an nocently fun piece of Hollywood treacle. –Nade Smh</p></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="3n4r8"></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ArticlePageChunksGrid-hfxa bDFJoo"><div class="GridItem-buujkM kHPPIF grid--em"><div class="BodyWrapper-kufPGa bCHUuY body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a><em>, and</em> <a href=" target="_blank"><em>Google Play</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Liquid Sky</em> (1982)</h2><p><em>Liquid Sky</em> is as much a psychotronic sci-fi fever dream as is a vivid artifact om a New York that no longer exists. Set wh the downtown scene of the early ’80s, Rsian director Slava Tserman’s film is like a queerer take on <em>The Man Who Fell to Earth</em>. Alien vars search of a powerful dg hi out beneath 14th Street, disguised amid a bold kaleidospe of punk styl and androgyno inty. Even more entrancg than the film’s strikg lors and futuristic stum is s <a href=">unnny soundtrack</a>, posed on a primive digal d workstatn and rangg om creepy rnival mic to synth-pop bangers. Like the mil subcultur reflects, <em>Liquid Sky</em> is a thoroughly DIY affair produced on a shoe-strg budget, and s myth has sce spread among cult movie fans, New Wave obssiv, and queer cephil alike. –Nade Smh</p><p><em>Watch on</em> <a href=" target="_blank"><em>YouTube</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Victor/Victoria</em> (1982)</h2><p>By 1982, Julie Andrews was already somethg of a goody diva thanks to her star turns ’60s classics <em>The Sound of Mic</em> and <em>Mary Popps</em>, but <em>Victor/Victoria</em> certified her as a queer in as well. Unr the directn of her hband Blake Edwards, Andrews plays Victoria Grant, a starvg soprano stgglg to fd her break on the baret circu. Guid by the tutelage of Toddy (Robert Prton, another old-school mil star known for origatg the tle role  <em>The Mic Man</em>), Victoria attempts to turn her fortun around by prentg herself as a male performer. </p><p>In a lightful b of genr-bendg trickery, Andrews isn’t jt playg a woman pretendg to be a man, but a woman pretendg to be a man who works as a female impersonator, addg yet another level to the film’s exploratn of genred performance. Dpe the siar i, ’s nsirably lighter tone when pared to a film like <em>Cabaret</em>, but <em>Victor/Victoria</em> was a uniquely transgrsive role for an entertaer so synonymo wh fay-iendly classics. It’s a lovg tribute not jt to the burlque stag that gave birth to mil theater as an artform, but to performers of years past who phed the boundari of performance and inty alike. –Nade Smh</p><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Max</em></a><em>, and</em> <a href=" target="_blank"><em>Google Play</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Cy of Lost Souls</em> (1983)</h2><p>The unrsung non of German director and activist Rosa von Prnheim clus over 40 films, om his early veré-style tribute to trans in Tally Brown to an sential three-part AIDS documentary trilogy the early ’90s. Von Prnheim’s most strikg feature is 1983’s farcil genrqueer punk baret odyssey <em>Cy of Lost Souls</em>. It tak place grty Reagan-era Berl, where a group of Amerin expats drk, smoke, fuck, and sg r mil numbers together unr the learship of fabulo n mother Angie Stardt. The film gleefully ms to the mayhem of s premise, allowg for an anythg-go approach om his st of transgenr artists and drag superstars, playg exaggerated versns of themselv. The inic Jayne County, her only starrg role, livers r punk performanc at Stardt’s lightfully grotque Burger Queen shop, while the rt of the st—erotic trapeze acrobats, occultist performance artists—ratchet up the rnchy melodrama as their relatnships beg to acture. </p></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="slt348"></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ArticlePageChunksGrid-hfxa bDFJoo"><div class="GridItem-buujkM kHPPIF grid--em"><div class="BodyWrapper-kufPGa bCHUuY body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p>Each of the film’s madp mil scen is a sight to behold, but the real revelatns  <em>Cy of Lost Souls</em> lie s characters’ to-the-mera monologu and ank bat wh one another: about trans life and genr termism, racism and anti-Semism, homophobia and alienatn. Absurdist, chaotic, and unbelievably funny, von Prnheim’s pictn of queer chosen fay is jt as msy as n be real life. –Eric Torr</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-3 viewport-monor-anchor"></div><p><em>Watch on</em> <a href=" target="_blank"><em>YouTube</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Purple Ra</em> (1983)</h2><p>Dearly beloved, let be said: <em>Purple Ra</em>’s plot is as straight as they e, followg Prce (aka the Kid)’s ght relatnship wh sger Apollonia and the cycl of vlence that tear them apart. But take one look at him onstage at Mneapolis’ First Avenue club, drippg ffled shirts, heeled boots, and sktight pants, fallg to asmic ecstasy over every guar solo, and you see exactly why the rock mil remas one of the most vivid on-screen marriag of mic and sexualy.</p><p>Though hampered by shaky actg and some tly jarrg tonal shifts, Prce’s sheer style and sane stage prence make this more than jt an exercise mythmakg by one of the greatt pop stars to walk the pla. Wolfishly sexy as he blurs femme and masc intifiers, Prce’s erotic provotns are on full display as he amps up classics like “<a href=">Darlg Nikki</a>” and “<a href=">Let’s Go Crazy</a>” wh rakish energy. No one did like Prce, a fact ma abundantly clear throughout <em>Purple Ra</em>’s high-pched, neon-drenched melodrama. –Eric Torr</p><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a><em>, and</em> <a href=" target="_blank"><em>Google Play</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Hairspray</em> (1988)</h2><p>Wh this heartfelt o to the mic of his youth, John Waters entered his own pop art era, turng away om the liberate provotns of his early work to lorful stud spectacl. <em>Hairspray</em>, which follows the fearls Tracy Turnblad (Ricki Lake) as she sets out to nquer the stage of her favore dance show, may be ls offensive to nventnal sensibili than Waters’ <em>Pk Flamgos</em> or <em>Female Trouble</em>, but ’s still a transgrsive film about transgrsive people. Set 1962,  uld have been a <em>Happy Days</em>-style nostalgia trip, but stead foregrounds the polil tenor of the era, as Tracy fights for racial tegratn as well as her own regnn as a proudly self-proclaimed “pleasantly plump” girl. Waters’ me Dive turns an unfettable dual role as Edna, Tracy’s stern but lovg mother, and an anti-tegratn TV statn owner, while Debbie Harry is hilarly st as a nservative matriarch. –Nade Smh</p></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="v5o3q"></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ArticlePageChunksGrid-hfxa bDFJoo"><div class="GridItem-buujkM kHPPIF grid--em"><div class="BodyWrapper-kufPGa bCHUuY body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a><em>, and</em> <a href=" target="_blank"><em>Google Play</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>It Couldn’t Happen Here</em> (1988)</h2><p>English synth-pop duo Pet Shop Boys have always been uniquely cematic, regularly llaboratg wh filmmakers like Derek Jarman to produce vividly choreographed stage shows and mic vios that verge on high art. They were hardly the first act to explore the ncept of the longform vio, but <em>It Couldn’t Happen Here</em> tak Neil Tennant and Chris Lowe’s distctly queer sensibily and stretch to feature-length. Directed by journeyman filmmaker Jack Bond, the film pris songs om their classic albums <em>Please</em> and <em>Actually</em>, as the stone-faced micians roam around the yg English untrysi gettg ught up surreal hijks, not unlike a grty reboot of <em>A Hard Day’s Night</em>. Though the Pet Shop Boys wouldn’t e out publicly as gay until the ’90s, the subtext of anthems like “It’s a S” is hard to miss, and the bleakns of <em>It Couldn’t Happen Here</em> feels siarly rmed by the enormo amounts of loss brought on by both the AIDS crisis and the stctive reign of Margaret Thatcher. –Nade Smh</p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Anthem</em> (1991)</h2><p>All of Marlon Riggs’ works are nnected to mic and poetry: om <em>Long Tra Runng,</em> his but, a documentary about Oakland blu micians, to <em>Tongu Untied,</em> a val film by and about Black gay men that aired to acclaim and ntroversy on PBS 1989. He was diagnosed as HIV-posive that same year, and created <em>Anthem</em>, a sharp riff on the mic vio format, as part of a subsequent seri of films that epened his exploratns of race, sex, and reprentatn, cludg the stigma around HIV and AIDS. </p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-4 viewport-monor-anchor"></div><p>Pumpg wh upbeat hoe and dis, <em>Anthem</em> posns the mic as an irreprsible force, flickerg to the same rhythm as the overlaid spoken word poetry and scen of var dancers. (Their ranks clu the unparalleled ballroom choreographer <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Willi Nja</a> and Riggs himself, sportg a leather jacket and vogug ont of a backdrop spangled wh ACT UP pk triangl.) The experimental ne-mute vio is an example of Riggs’ manipulatn of tablished cematic forms to enable a missn of re—for yourself and the people you hold muny wh. As the legendary Essex Hemphill says directly to the mera, readg om his poem “<a href=">Amerin Weddg</a>”: “Every time we kiss, we nfirm the new world g.” –Eric Torr</p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Young Soul Rebels</em> (1991)</h2><p>Set London 1977, <em>Young Soul Rebels</em> foc on a pirate rad statn n by the Black, openly gay Caz and his half-whe, half-Black, straight bt iend Chris, who illegally brg soul and R&B hs to the mass. Set durg the Queen’s Silver Jubilee and spired by lumary queer director Isaac Julien’s days as a <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">soul boy</a> himself, the genre-blurrg movie is part murr mystery, part queer romance, and part mil love letter to a perd Brish history when Black style was velopg s own unmistakable inty. </p></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="h0oaw"></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ArticlePageChunksGrid-hfxa bDFJoo"><div class="GridItem-buujkM kHPPIF grid--em"><div class="BodyWrapper-kufPGa bCHUuY body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p>In a sharp, giallo-style openg, Caz’s iend is killed while cisg a lol park, kickg off a plot that troduc probg qutns that dispt the duo’s liv and persist today: Can you rely on police acuntabily when queer people are murred? How do margalized muni acknowledge and protect their own who hab multiple vulnerable inti at once? Julien gracefully handl the and other issu, addg further pth through Caz’s romance wh whe punk socialist Billibud, which unrsr racist and homophobic tennci the era’s punk scene. A untercultural gut punch wh geo visual style and an unimpeachable soundtrack spanng the O’Jays and the Blackbyrds to Sylvter and X-Ray Spex, <em>Young Soul Rebels</em> is as electrifygly relevant now as was 1991. –Eric Torr</p><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Zero Patience</em> (1993)</h2><p>A stttg dance sequence a steamy bathhoe, a pair of anthropomorphic sphcters serenadg one another bed— 1993’s <em>Zero Patience</em>, mp mil numbers and spectral enunters ame an outré look at the orig and velopment of the AIDS crisis as was happeng. After imbibg om the founta of youth, a sex rearcher om the Victorian era fds himself still alive the early ’90s, where he plans a mm exhib featurg “Patient Zero,” the French-Canadian flight attendant acced of troducg AIDS to North Ameri. He’s thrown to emotnal disarray once Patient Zero himself arriv as a ghost and the pair bee romantilly entwed. <em>Zero Patience</em> soon shifts to an dictment of the ernment’s mishandlg of AIDS, a crique that be clear when ACT UP-style activists sabotage the display (naturally, they <a href=">burst to song</a> the procs). Like <em>Angels Ameri</em> jected wh Talkg Heads-style dance rock, <em>Zero Patience</em> may be gleefully obv s takedowns, but ’s a ptivatg meta-mil about a dark chapter Amerin history and the queer will to survive. –Eric Torr</p><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a><em>, and</em> <a href=" target="_blank"><em>Google Play</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Blue</em> (1993)</h2><p>I once attend a screeng of Derek Jarman’s <em>Blue</em> where most of the straight upl the theater had left by the halfway mark. Surely, there’s no higher praise. As well as makg heterosexuals n for their liv, throughout his three- reer, Jarman was rponsible for givg Tilda Swton her first film role (<em>Caravagg</em>) and Brian Eno one of his first creds as a film poser (<em>Sebastiane</em>). But his greatt achievement was <em>Blue</em>, que lerally the sadst film of all time. </p><p>Ma 1993, when AIDS was gradually turng him bld, <em>Blue</em> was Jarman’s fal film—though ’s not so much a movg picture as a sgle screen, posed entirely of Yv Kle bright blue. Blue, Kle’s words, munit “what is most abstract,” which is also te of Jarman’s approach to mic. His films, which typilly feature mimal dialogue, prrize mic above speech. In <em>Blue</em>, Jarman llapsed the boundari between sound and image entirely, as he and mician Simon Fisher Turner created an elaborate soundspe ma of voice, breath, wav, and tickg clocks, placg the dory at the center of the athetic experience. The mic, rangg om a whisper to a thunrclap, is ever-prent, Jarman’s—and the viewer’s—nstant pann. –Emma Madn</p></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="v6trwa"></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ArticlePageChunksGrid-hfxa bDFJoo"><div class="GridItem-buujkM kHPPIF grid--em"><div class="BodyWrapper-kufPGa bCHUuY body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p><em>Watch on</em> <a href=" target="_blank"><em>YouTube</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>The Watermelon Woman</em> (1996)</h2><p>Cheryl Dunye’s <em>The Watermelon Woman</em>, a fictnal narrative about a documentary director, was the first film directed by a Black lbian for Black lbians. Dunye’s protagonist rearch a historil actrs who performed Hollywood “race” films the 1930s, and Dunye herself DIY-ed an entire leage—fx photos, ephemera, and 16mm footage—to brg the subject of her film-wh-a-film to life. This “Dunyementary” honors the many Black actrs who were pigeonholed by Jim Crow-era trop, their nam often erased om creds and the llective cematic memory. And go down like chicken soup for the Black sapphic soul, snaggg on every nuance of lbian culture wh a sharp edic edge. </p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-5 viewport-monor-anchor"></div><p>Wh an origal sre by jazz saxophonist Pl Shapiro, along wh soundtrack selectns spanng neo-soul, hoe, and hip-hop, <em>The Watermelon Woman</em> mak you feel like you’re ont row at a mid-’90s poetry slam, or scratchg your ch at the openg of a lbian art gallery. Its narrative leav qutns unanswered, wh a sense that there is more to say and do. Kathy Sledge’s <a href=">“Another Day,”</a> <em>The Watermelon Woman</em>’s spunky dis-pop theme, looks out to that horizon of queer possibily, punctuatg the film wh irrefutable soul. –Tatiana Lee Rodriguez</p><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a> <em>and</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Nowhere</em> (1997)</h2><p>The fluential New Queer Cema pneer Gregg Araki has said the spiratn behd each of his movi begs wh mic. Utilizg an ultra-ol soundtrack of dream pop, shoegaze, and punk, the California director’s postmornist Teen Apolypse Trilogy uned his French New Wave and pennt cema fluenc to grapple wh them of prsn and homophobia through humor and surrealism. Begng wh 1993’s <em>Totally Fucked Up</em> and 1995’s <em>The Doom Generatn</em>, the trilogy nclus wh 1997’s <em>Nowhere</em>, a Day-Glo bright 24-hour nightmare that follows Dark (Jam Duval, Araki’s me) and his circle of sexually fluid iends on a psychelic journey through Los Angel on Armageddon day. </p><p>Like “<em>Cluels</em> wh nipple rgs,” as <em>Paper</em> trely yet succctly put upon release, <em>Nowhere</em> ptur Araki operatg at his peak, where each unhged character is played by a who’s who of teen actors before they were famo (Christa Applegate, Mena Suvari, Ryan Phillippe), every le of dialogue is a dry one-ler, and the stum and handma sets get progrsively more lorful and plex as the night go on. But ’s Araki’s expert mic curatn that <em>Nowhere</em> be a te ’90s mic masterpiece: Massive Attack, Elasti, Hole, Radhead, the Chemil Brothers, and more heighten Araki’s full-throttle view of the world as a young queer person, where every moment holds the potential for both love and danger. –Eric Torr</p></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="xkjb"></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ArticlePageChunksGrid-hfxa bDFJoo"><div class="GridItem-buujkM kHPPIF grid--em"><div class="BodyWrapper-kufPGa bCHUuY body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p><em>Watch on</em> <a href=" target="_blank"><em>YouTube</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Happy Together</em> (1997)</h2><p>Throughout his sensuo filmography, Wong Kar-wai has ed cross-cultural llaboratns and vers—like Faye Wong’s Cantopop remake of the Cranberri’ “Dreams”  <em>Chungkg Exprs</em> or Malagasy mician Nogabe’s remix of Massive Attack’s “Karmaa”  <em>Fallen Angels</em>—to impart subtext about the nflictg motivatns of his characters. For <em>Happy Together</em>, the 1997 masterpiece that ma a movie star of queer pop sger Llie Chng, Wai employed the tense tango posns of Astor Piazzolla and the eic rock of Frank Zappa to reprent the tumultuo relatnship between Ho Po-wg (Chng) and Lai Yiu-Fai (Tony Lng), a gay uple om Hong Kong who clg to each other while strand abroad Argenta. </p><p>The melancholic and sctive acrdn Piazzolla’s mic unrsr the feelg behd their enzied dance of fightg, makg up, and relyg on each other for survival. Even their moments of greatt timacy are tged wh a sense of doom, as the inic kchen tango scene, where the two hold each other wh the safety of havg no wns, soundtracked by Piazzolla’s “Fale (Tango Apasnado).” That theme back around toward the film’s end when Fai gaz at the Iguazú Falls, the landmark that he always thought he would see wh his now-ex-lover. The moment offers a smidge of faly amid an elliptil plot that explor transnatnal alienatn, exile, terpersonal power dynamics, and belongg. –Michelle Hyun Kim</p><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Max</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Velvet Goldme</em> (1998)</h2><p>If histori are the fictns of empir—to paraphrase <em>Velvet Goldme’s</em> openg quote—then fanfictn is the history of queers, and Todd Hayn’ <em>Velvet Goldme</em> operat on both fan logic and fan time. To boil this plited film down to s simplt sence: <em>Velvet Goldme</em> is a fake Bowie bpic told through the ey of a stan. From s tle to the spiky, dykey wigs, high-glam dandyism, and spachips, every part of <em>Velvet Goldme</em> gtur towards Bowie whout ever mentng his name. Ziggy’s also a noticeable absence om the glammy, perd-specific soundtrack, and that absence grants Hayn the opportuny to tell new, ludicro versns of history. Multiple supergroups formed to reimage songs by Roxy Mic, the Stoog, and T. Rex for the film—cludg actual members of Roxy Mic and the Stoog, not to mentn Thom Yorke, Thurston Moore, and Michael Stipe as a producer. </p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-6 viewport-monor-anchor"></div><p>Set 1970s London, the film time-travels between Osr Wil’s 1850s Dubl and Orwellian 1980s New York, drawg lks between queer theory, glamor and Brpop Bra. <em>Velvet Goldme</em> is a glterg and prismatic retellg of events, relyg ls on fact than fannish affect. The film eply and timately unrstands queerns and glamor—and so, eply and timately unrstands Bowie. –Emma Madn</p></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="fs42fj"></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ArticlePageChunksGrid-hfxa bDFJoo"><div class="GridItem-buujkM kHPPIF grid--em"><div class="BodyWrapper-kufPGa bCHUuY body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a> <em>and</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Y Tu Mamá También</em> (2001)</h2><p>Sometim tak a third person to unlock the tth of a close relatnship. In Alfonso Cuarón’s <em>Y Tu Mamá También</em>, ’s Luisa, an olr Spanish woman, who both dispts and talyz the bond between Tenoch and Jul, two Mexin teenage iends who jerk off together and talk obssively about havg sex wh women as an outlet for their own brewg sexual tensn. Driven by the fantasy of Luisa, the horny lads part wh this relative stranger on a weed-fueled road trip through the Mexin untrysi. </p><p>An eclectic soundtrack acpani their voyage: the electronic alt-rock of Café Tacuba and Plastila Mosh, the kschy dance tun of Señor Conut, the norteño of Fla Jiménez, and somber picks om Natalie Imbglia and Brian Eno. When Luisa gas an emotnal upper hand between the two boys, she lays down new ground l: “I choose the mic” is one of them. The film nsummat the threome’s creasgly entangled dynamic wh a dance scene set to Mar Anton Solís’ sultry ballad “Si no te hubieras ido,” which ends wh a kiss between the two boys. The moment is glorly msy and revelatory to this day, when onscreen pictns of polyamoro bisexualy are still rare the mastream. –Michelle Hyun Kim</p><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a><em>, and</em> <a href=" target="_blank"><em>Google Play</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Hedwig and the Angry Inch</em> (2001)</h2><p>John Cameron Mchell’s <em>Hedwig and the Angry Inch</em> reprented a major breakthrough for trans cema at the turn of the century. As both a stage mil and a feature film, <em>Hedwig</em> has endured for the simple reason that brought a eply felt and fully realized genrqueer character to life a way few Amerin productns prevly had. The tular Hedwig, played by the mil’s creator and director, is a fiant rock star who liv between cultur and genrs, a trans East German emigre stgglg to make Middle Ameri. Wh a soundtrack spired by David Bowie and Iggy Pop, <em>Hedwig and the Angry Inch</em> is a livg ttament to the queerns of glam rock, a sound that blurred the l of mil genre and genr prentatn to somethg bedazzled and new. –Nade Smh</p><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a><em>, and</em> <a href=" target="_blank"><em>Google Play</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>The Adventure of Iron Psy</em> (2003)</h2><p>Apichatpong Weerasethakul is known as a visnary of slow cema, whose films <em>Memoria</em> and <em>Syndrom and a Century</em> are envelopg sensory experienc. But the rtlsly ventive and prolific Thai filmmaker, whose body of work clus everythg om gallery stallatns to virtual realy, is impossible to classify. 2003’s <em>The Adventure of Iron Psy</em>, a psychelic mil pastiche and ndy-ated queer romance, is one of his most unpredictable and overlooked works. </p></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="h2oiw"></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ArticlePageChunksGrid-hfxa bDFJoo"><div class="GridItem-buujkM kHPPIF grid--em"><div class="BodyWrapper-kufPGa bCHUuY body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p>The film is a llaboratn wh pneerg Thai visual artist Michael Shaowanasai, who plays the tular character, a gay 7-Eleven clerk wh a female secret agent alter-ego. The filmmakers set out to queer the exprsive Thai melodramas and movie-mils they grew up on, landg somewhere between Douglas Sirk, Jam Bond, and Gregg Araki. For as liberately mpy and unrtraed as <em>The Adventure of Iron Psy</em> might be, ’s of a piece wh Apichatpong’s better-known medatns, a spectacle of lor and light that stimulat the sens as much as entertas. –Nade Smh</p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Bsie</em> (2015)</h2><p>Queen Latifah’s ia for a bpic about the legendary blu sger Bsie Smh had been floatg around film studs for 20 years before Dee Re rewrote s script. Comg off of her breakout feature, the Black lbian g-of-age story <em>Pariah</em>, Re picted Smh’s rise to fame as a dark-skned bisexual woman the 1920s, examg the ways that her tumultuo backstory rmed the subject matter of her soulful songs, which often foced on workg women’s pennce and sexualy. Smh’s legacy as “the Emprs of the Blu” stems part om the implic polil prott her songs, her assertive lyrics and ntralto vols—once siled for beg arse—givg voice to Southern Black muni. Latifah’s remak don’t attempt to replite that same vol flair, but perhaps ’s better that her flectns on songs like “Young Woman’s Blu” and “Work Hoe Blu” are te to her range, round and bright like a brass stment. A scene which Smh and fellow bisexual blu in Ma Raey (played by Mo’Nique, wh sgg om Carmen Twillie) don sus and top hats for a game of rds offers joyfully bonair masc reprentatn the lik of which is rare to enunter on-screen. Keep some tissu around as you take all . –Tatiana Lee Rodriguez</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-7 viewport-monor-anchor"></div><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Max</em></a><em>, and</em> <a href=" target="_blank"><em>Google Play</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>100 Boyiends Mixtape</em> (2016)</h2><p>Who else bis Brontez Purnell uld take clips of ass eatg, stir yg veggi, and plag about paramours, splice them together over disrdant jazz mic, and have actually <em>work</em>? Sce the 2003 lnch of his longnng cult ze <em>Fag School</em>, the Oakland artist who do absolutely everythg—wrg, directg, leadg punk bands, dancg—has tablished his madp DIY athetic and love for airg out his short-lived hookups. But he’s expand this serly unser missn of archivg all his sexual explos through <em>100 Boyiends Mixtape</em>, a project spanng three short films om 2015 to 2023. </p></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="3petfp"></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ArticlePageChunksGrid-hfxa bDFJoo"><div class="GridItem-buujkM kHPPIF grid--em"><div class="BodyWrapper-kufPGa bCHUuY body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p>Through the entri, Purnell queers the form of standard d “mixtape” by foldg poetry, vio, and smattergs of electric guar and dms. Really, ’s whatever tak to relay the tumultuo nature of his love life, and the btal, hilar stori llected along the way. This boundls approach to artmakg, as well as his unflchg vulnerabily, has led Purnell to bee a cult DIY in: Few n make to the Crern Collectn wh a self-starrg short about a HIV-posive Black gay man who gabs on the phone for 10 mut straight, while shrk-ftg a pair of shoplifted jeans his bathtub. –Michelle Hyun Kim</p><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Crern Collectn</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Song Lang</em> (2018)</h2><p>The Vietname folk opera form <em>cải lương</em> is the drivg force behd the short-lived yet signifint romance at the center of <em>Song Lang</em>, a slow-burng drama set 1980s Saigon. Its tle is taken om the woon percsn stment, whose name n be lerally translated to “two men,” that keeps the rhythm the theater performanc. The film ially vacillat between wildly different pac, om the breakneck actn scen of the roughhog bt-llector Dũng “Thunrbolt,” and the languid, melodramatic performanc of Lh Phung, the star of a lol <em>cải lương</em> pany. Yet the two fd a mon tempo when Phung learns that Thunrbolt grew up the <em>cải lương</em> tradn, and their nnectn blossoms through playg melancholic mic together. It’s a betiful ttament to how mic n spark a bond between potential lovers, and how one tsted creative partner n unlock a world of feelg hidn behd a harned heart. –Michelle Hyun Kim</p><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a><em>, and</em> <a href=" target="_blank"><em>Google Play</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>And Then We Danced</em> (2019)</h2><p><em>And Then We Danced</em> follows Merab (Levan Gelbakhiani), a young dancer trag at the Natnal Geian Ensemble, who eventually bucks the rigidly mascule forms of tradnal Geian dance to fd a fluid and queer style all his own. The soundtrack to director Levan Ak’s drama heavily featur tradnal Geian mic, whose tense doli dmmg offers the backdrop for the heteronormative duets that Merab feels he mt perfect. Irakli (Bachi Valishvili), a replacement dancer wh whom Merab mt pete wh for a spot the ensemble, awakens Merab’s dormant queer feelgs. </p><p>Their blossomg flg begs wh ABBA’s 1977 dis anthem “Take a Chance On Me,” and is then ma real wh a stunngly sensual scene which Merab starts to fd his eedom by playfully dancg to Robyn’s “Honey” while Iralki watch. Merab ntu to fe his own inty by ravg to techno at Bassiani, one of Tbilisi’s only LGBTQ+ spac, and then by pletely flubbg his dn to prent an off-script ntemporary route. A transcennt tale of quiet rebelln, <em>And Then We Danced</em> reveals the self-disvery that n occur through the personal act of dance. –Michelle Hyun Kim</p></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="ucmf"></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ArticlePageChunksGrid-hfxa bDFJoo"><div class="GridItem-buujkM kHPPIF grid--em"><div class="BodyWrapper-kufPGa bCHUuY body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a><em>, and</em> <a href=" target="_blank"><em>Google Play</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Ema</em> (2019)</h2><p>The tle character of Pablo Larraín’s <em>Ema</em> don’t want a spotlight or a stage when she danc—she’d rather have a flamethrower her hand, and to take to the streets. Set prent-day Chile, this 2019 drama about a dancer and bisexual mother procsg a fay tragedy is a btn of grief and sire, gently amed by an ambient reggaeton sre om Nilás Jaar. <em>Ema</em>’s emphasis on nstant movement expands the possibily of dance, fay, and sexualy, s ma character fluctuatg between creative birth and stctn, stct and stcture. The strgs of “Separación” rise and fall like an aimls sailboat, moored by the cshg weight of nsequence; the foamy shor of “Gavtas” allot time for the protagonist to adjt her ner pass toward sire. Across the film, Jaar’s panoramic ambient univers mirror the stag of Ema’s emotnal turmoil. –Tatiana Lee Rodriguez</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-8 viewport-monor-anchor"></div><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a><em>, and</em> <a href=" target="_blank"><em>Google Play</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Neptune Frost</em> (2021)</h2><p>This genre-blendg Aofuturist mashup has the makgs of a queer cult classic. Wrten and directed by rapper-poet Sl Williams and Rwandan filmmaker Anisia Uzeyman, <em>Neptune Frost</em> is many thgs at once: a magil-realist tale about the Wtern world explog rourc om Bundi; a love story between an tersex hacker and a ltan mer; and a dazzlg hip-hop-spired mil wh mmerizg songs and ketic dance sequenc. The film visualiz a cematic language all s own, g trite handcrafted stum ma out of damaged electronics and tense merawork that dips and soars sync wh the mic’s irristible rhythm. It’s an anarchic, optimistic visn of a queer-led techno future that seems not only possible, but already existence. –Eric Torr</p><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Crern Channel</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a><em>, and</em> <a href=" target="_blank"><em>Google Play</em></a></p><hr/><div class="GenericCalloutWrapper-tojWn dKTKKM" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image"><noscript><img alt="The 30 Bt Queer Mic Movi" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div></figure></div><h2><em>Tár</em> (2022)</h2><p>Whenever a film blows up on Twter, ’s easy to feel spic when fally stg down to watch . Are people talkg about bee ’s a good movie or bee ’s a disurse enty? <em>Tár</em>, of urse, is both. Director Todd Field’s film sentially prefigured s own disurse and receptn: All of the rrpondg op-eds on ncel culture, the culture wars, and bad butch reprentatn were sentially built . Starrg Cate Blanchett as the tular well-tailored Berl daddy, <em>Tár</em> spotlights the poser’s fall om grace followg a stunt’s suici and a slew of allegatns of sexual misnduct. Field really has out for his protagonist, punishg her every step of the way. The film is eply sexls—neher Lydia Tár’s sex life nor her transgrsns are ever picted; stead, sex is merely, and sickengly, implied. The last lgh featur a crowd of splayg gamers, and a creepg sense that maybe Tár was never a great poser at all. –Emma Madn</p><p><em>Watch on</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Amazon</em></a><em>,</em> <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><em>Apple TV</em></a><em>, and</em> <a href=" target="_blank"><em>Google Play</em></a></p></div></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 PaywallInleBarrierWhWrapperGrid-fyrGfS jyGBoi"><div class="GridItem-buujkM kHPPIF grid--em"><div class="body body__le-barrier article__body article__body--grid-margs"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div 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href="/artists/3290-pet-shop-boys/" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd JArb fNjBDf hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd fWKTlx bUkXwu">Pet Shop Boys</span></a><a href="/featur/?genre=electronic" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd JArb fNjBDf hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd fWKTlx bUkXwu">Electronic</span></a><a href="/featur/?genre=pop" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd JArb fNjBDf hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd fWKTlx bUkXwu">Pop/R&B</span></a><a href="/featur/?genre=rock" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd JArb fNjBDf hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd fWKTlx bUkXwu">Rock</span></a></div></div></div></div><div data-ttid="ContentFooterBottom" class="ContentFooterBottom-jwWZfC kcbyiW"><div class="ntent-bottom-anchor"></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-footer" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-footer"></div><div class="journey-un"></div></div><div data-attr-viewport-monor="" class="recirc-list-wrapper viewport-monor-anchor"><div class="RowWrapper-UmqTg HEhan ContentFooterRelated-kEBiFe kVUuwq"><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 SummaryCollectnGridComponent-ktyEog bdTTVU summary-llectn-grid RecircListDefltOverlaySummaryCollectnGrid-AHJhY bEaXiL recirc-list__ems summary-llectn-grid--four-lumns summary-llectn-grid--TextBelowLeft"><div class="GridItem-buujkM kHPPIF grid--em"><div class="SummaryCollectnGridContent-eVUpRm gOErDJ"><div class="SectnTleRoot-dBGvdq kotSjS SummaryCollectnGridSectnTle-fCmYwG izjbVn" data-ttid="SectnTle"><hear class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SectnTleHed-dKqZet dxqEAa hSIcUX jttyjJ">Read More</hear></div><div class="SummaryCollectnGridItems-DZShR jNraQc hi-read-more-ad" data-ttid="SummaryCollectnGridItems"><div class="SummaryItemWrapper-iwvBff hmmRSZ summary-em summary-em--has-le summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm XIzKh" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-1" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz gKnDpj"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><img alt="The 30 Bt Movie Performanc by Rappers" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX irmJOI bric SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Lists & Guis</span></div><a class="SummaryItemHedLk-civM kHqDAk summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-1" data-recirc-pattern="summary-em" href=" target="_self"><div data-ttid="ClampWrapper" class="ClampWrapper-kZxfkB hTTNGO clamp SummaryItemHedBase-hiFYpQ lfbrty summary-em__hed"><div class="ClampContent-hilPkr jVhSBH"><div class="SummaryItemHedTag-TWblf gxaOcP" data-ttid="SummaryItemHed">The 30 Bt Movie Performanc by Rappers</div></div></div></a><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY jCKKIz summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH CViXj byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd gebkj gnILss byle__preamble">By </span>Alphonse Pierre</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hmmRSZ summary-em summary-em--has-le summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm XIzKh" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz gKnDpj"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><img alt="Jt Timberlake and Sky Ferreira Star Trailer for New Netflix Movie Reptile" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX irmJOI bric SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">News</span></div><a class="SummaryItemHedLk-civM kHqDAk summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href=" target="_self"><div data-ttid="ClampWrapper" class="ClampWrapper-kZxfkB hTTNGO clamp SummaryItemHedBase-hiFYpQ lfbrty summary-em__hed"><div class="ClampContent-hilPkr jVhSBH"><div class="SummaryItemHedTag-TWblf gxaOcP" data-ttid="SummaryItemHed">Jt Timberlake and Sky Ferreira Star Trailer for New Netflix Movie <em>Reptile</em></div></div></div></a><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY jCKKIz summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH CViXj byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd gebkj gnILss byle__preamble">By </span>Matthew Strss</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hmmRSZ summary-em summary-em--has-le summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm XIzKh" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz gKnDpj"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><img alt="8 Overlooked Rap Mixtap You Need to Hear" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX irmJOI bric SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">The Pch</span></div><a class="SummaryItemHedLk-civM kHqDAk summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div data-ttid="ClampWrapper" class="ClampWrapper-kZxfkB hTTNGO clamp SummaryItemHedBase-hiFYpQ lfbrty summary-em__hed"><div class="ClampContent-hilPkr jVhSBH"><div class="SummaryItemHedTag-TWblf gxaOcP" data-ttid="SummaryItemHed">8 Overlooked Rap Mixtap You Need to Hear</div></div></div></a><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY jCKKIz summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH CViXj byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd gebkj gnILss byle__preamble">By </span>Alphonse Pierre</span></span></p></div></div></div></div></div></div><div class="AdWrapper-dQtivb fZrssQ SummaryCollectnGridSummaryItem-WColm XIzKh ad ad--read-more"><div class="ad__slot ad__slot--read-more" data-no-id="stp71"></div></div><div class="SummaryItemWrapper-iwvBff hmmRSZ summary-em summary-em--has-le summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm XIzKh" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz gKnDpj"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><img alt="Bradley Cooper Is Leonard Bernste New Netflix Movie Matro" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX irmJOI bric SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">News</span></div><a class="SummaryItemHedLk-civM kHqDAk summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-4" data-recirc-pattern="summary-em" href=" target="_self"><div data-ttid="ClampWrapper" class="ClampWrapper-kZxfkB hTTNGO clamp SummaryItemHedBase-hiFYpQ lfbrty summary-em__hed"><div class="ClampContent-hilPkr jVhSBH"><div class="SummaryItemHedTag-TWblf gxaOcP" data-ttid="SummaryItemHed">Bradley Cooper Is Leonard Bernste New Netflix Movie <em>Matro</em></div></div></div></a><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY jCKKIz summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH CViXj byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd gebkj gnILss byle__preamble">By </span>Matthew Strss</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hmmRSZ summary-em summary-em--has-le summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm XIzKh" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-5" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz gKnDpj"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><img alt="Bobby Eli, MFSB and Philalphia Internatnal Guarist, Di at 77" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX irmJOI bric SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">News</span></div><a class="SummaryItemHedLk-civM kHqDAk summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-5" data-recirc-pattern="summary-em" href=" target="_self"><div data-ttid="ClampWrapper" class="ClampWrapper-kZxfkB hTTNGO clamp SummaryItemHedBase-hiFYpQ lfbrty summary-em__hed"><div class="ClampContent-hilPkr jVhSBH"><div class="SummaryItemHedTag-TWblf gxaOcP" data-ttid="SummaryItemHed">Bobby Eli, MFSB and Philalphia Internatnal Guarist, Di at 77</div></div></div></a><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY jCKKIz summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH CViXj byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd gebkj gnILss byle__preamble">By </span>Jazz Monroe</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hmmRSZ summary-em summary-em--has-le summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm XIzKh" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-6" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz gKnDpj"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><img alt="Chappell Roan’s Glorly Unser Pop" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX irmJOI bric SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">The Pch</span></div><a class="SummaryItemHedLk-civM kHqDAk summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-6" data-recirc-pattern="summary-em" href=" target="_self"><div data-ttid="ClampWrapper" class="ClampWrapper-kZxfkB hTTNGO clamp SummaryItemHedBase-hiFYpQ lfbrty summary-em__hed"><div class="ClampContent-hilPkr jVhSBH"><div class="SummaryItemHedTag-TWblf gxaOcP" data-ttid="SummaryItemHed">Chappell Roan’s Glorly Unser Pop</div></div></div></a><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY jCKKIz summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH CViXj byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd gebkj gnILss byle__preamble">By </span>Cat Zhang</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hmmRSZ summary-em summary-em--has-le summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm XIzKh" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-7" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz gKnDpj"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><img alt="The 45 Bt Albums of 2023 So Far" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX irmJOI bric SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Lists & Guis</span></div><a class="SummaryItemHedLk-civM kHqDAk summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-7" data-recirc-pattern="summary-em" href=" target="_self"><div data-ttid="ClampWrapper" class="ClampWrapper-kZxfkB hTTNGO clamp SummaryItemHedBase-hiFYpQ lfbrty summary-em__hed"><div class="ClampContent-hilPkr jVhSBH"><div class="SummaryItemHedTag-TWblf gxaOcP" data-ttid="SummaryItemHed">The 45 Bt Albums of 2023 So Far</div></div></div></a><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY jCKKIz summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH CViXj byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd gebkj gnILss byle__preamble">By </span>Anna Ga</span></span></p></div></div></div></div></div></div><div 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class="SummaryItemHedTag-TWblf gxaOcP" data-ttid="SummaryItemHed">The 18 Bt Moments From Pchfork Mic Ftival 2023</div></div></div></a><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY jCKKIz summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH CViXj byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd gebkj gnILss byle__preamble">By </span>Pchfork</span></span></p></div></div></div></div></div></div></div><div class="SummaryCollectnGridToActnWrapper-gnReGN eGayfk"></div></div></div></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="TaboolaWrapper-hMVdpE iYfBhy"><div class="TaboolaWidgetWrapper-egPIjc hkSrgt TaboolaWidget-eUSdED hQCCRa" data-ttid="TaboolaWidgetWrapper"><div class="TaboolaWidgetContent-iBEQTO eXroXG TABOOLA" id="taboola-below-article-thumbnails" data-ttid="TaboolaWidgetContent"></div></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="AdWrapper-dQtivb fZrssQ ad ad--footer should-hold-space"><div class="ad__slot ad__slot--footer" data-no-id="nxa59l"></div></div></div></div></div></ma><div class="BasePageMaFooterFiller-hTlZph jSriYf page__ma-footer-filler"></div><div class="RowWrapper-UmqTg HEhan"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--cm-footer" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--cm-footer"></div><div class="journey-un"></div></div></div><div class="RowWrapper-UmqTg HEhan BasePageSeFooterRow-kpEBGH lfUKax"><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 BasePageSeFooterRowGrid-iBGjXL zQNeb"><div class="GridItem-buujkM kHPPIF grid--em"><footer class="SeFooterWrapper-bXjkRY VecEt se-footer--wh-store"><div class="SeFooterGridNoMargs-jSrXSj kdlxBX" data-ttid="SeFooterGridNoMargs"><div class="SeFooterBrandInfo-cdoqKy cdkwFG"><div class="SeFooterLogo-eYlNHY eigdAF se-footer__logo"><a href="/"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset SeFooterLogoRponsiveAsset-ckjzWk kubVDn se-footer__rponsive-image"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SeFooterLogoRponsiveAsset-ckjzWk kubVDn se-footer__rponsive-image rponsive-image"><img alt="Pchfork" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="/verso/static/pchfork/assets/" srcSet="" siz="100vw"/></picture></span></a></div><div data-ttid="SeFooterAbout" class="SeFooterAbout-lflfWa hwdcsM"><div class="SeFooterAboutText-XXKBX blTbmF">The most tsted voice mic</div></div><div class="SocialInsWrapper-hKMEXV hwdgCG social-ins social-ins--footer SeFooterSocialIns-cLAKVY pJQob"><ul data-ttid="socialInslist" class="SocialInsList-cHVTIA 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