Bt Poy Gay Indie Films From 2017 and 2018

Contents:

• INTERNATNAL GAY CEMA: 33 LGBTQ MOVI TO SEE OM AROUND THE WORLD
• THE GAYT MOVI THAT AREN’T ACTUALLY GAY, OM ‘BARBIE’ AND ‘BURLQUE’ TO ‘VENOM’ AND ‘ROAD HOE’

INTERNATNAL GAY CEMA: 33 LGBTQ MOVI TO SEE OM AROUND THE WORLD

The summer before that, Billy Eichner and Nicholas Stoller ma history wh Universal Pictur’ “Bros, ” among the first ever gay rom-s fund by a major stud: an important victory — even if that film did go, uh, soft at the box office. Wrten and directed by Argentian filmmaker Luc Castro his feature but, “End of the Century” is the natural scendant of lh romanc like “Weekend” and “Call Me By Your Name, ” and will certaly endure as one of the most evotive gay films of the . Not a gay story so much as a queer one (Sciamma’s extraordary “Tomboy” illtrated her distert strict fns of sexualy), “Beg 17” is shared between two teen boys growg up the emotnally vivid mountas of the French Pyrene.

Terence Davi’ rtoly well-penned but eply spairg film is a portra of World War I-era English poet Siegied Sassoon, who lived a fortably gay shadow life on the g of the Bright Young Thgs, settled to marriage middle age, and died a late-mted Catholic, bereft, 1967. It’s also a sign of thgs to e — wh “Carol, ” Hayn solidified his abily to brg a h perspective to gay inty earlier perds of Amerin history, but “Far From Heaven” was the first proof of his brilliant pacy to medate on the past through a searg ntemporary lens. The untry settg and rtraed storytellg have led to evable “Brokeback Mounta” parisons, but “God’s Own Country” has the benef of two h fac the leads to fully hab the rol wh no prr associatns, as well as the eedom to buck Hollywood trop (cludg that pky one where every gay romance mt end tragedy).

THE GAYT MOVI THAT AREN’T ACTUALLY GAY, OM ‘BARBIE’ AND ‘BURLQUE’ TO ‘VENOM’ AND ‘ROAD HOE’

It’s impossible to overstate the signifince of “Moonlight” — as a cematic masterpiece, as spiratn to pennt filmmakers like Barry Jenks, but primarily for black gay men — who serve so many more exampl of profound art that mirrors their experience. Queer women tend to love this Betiful Lndrette (1985)Wrer Hanif Kureishi and director Stephen Frears proved you uld be racism, class warfare and gay love one story wh this Br flick that put the entire creative team on the map.

That clip appears The Celluloid Closet, Rob Epste and Jefey Friedman’s documentary based on Vo Rso’s study of homosexualy the movi, along wh untls exampl of how gay characters showed up, per narrator Lily Toml, as “somethg to lgh at, or somethg to py, or even somethg to fear. Some have been documents of a moment or era of gay history, some have been ed as rrectiv to s of negative clichés, and others have simply celebrated the fact that the movi n be queer, they’re here, get ed to .

It is nowhere near a prehensive ndown of every great movie to feature out-and-proud hero and villas, or a queer sensibily, or even jt visible (and/or risible) exampl of gay life cema; we uld have easily ma this list twice as long. The performanc are staggerg: Al Paco as the ignom Roy Cohn; Jefey Wright is the sharp-wted gay nurse who tends to him; Mary-Louise Parker as a pill-poppg hoewife wed to a closeted Mormon; Emma Thompson as an imper (and sometim sassy) angel; and Meryl Streep four rol, cludg the ghost of Ethel Rosenberg. It was still nsired a bad reer move for a movie star to play a gay role 2005, and Hollywood’s track rerd was ls than stellar when me to treatg homosexual romanc wh the same pth as heterosexual on (if emed f to tackle such stori at all).

A page-to-screen take on Vo Rso’s semal book regardg LGBTQ reprentatn (and misreprentatn) the movi, Rob Epste and Jefey Friedman’s documentary prents the perfect show-and-tell plement to the late scholar’s work — you n lerally see the evolutn of cematic homosexualy as progrs om punchle to social pundry, sikick-and-stock-villa fodr to queers beg the hero of their own stori. To say that William Friedk’s thriller about a serial killer targetg gay men New York was ntroversial would be puttg dly: Village Voice lumnist Arthur Bell (whose verage of murrs the Wt Village bar scene was a partial spiratn) lled the script “the worst possible nightmare of the most uptight straight”; tablishments that had agreed to operate sudnly whdrew their support; activists dispted filmg at every turn; theaters were picketed; and one massive prott led to a traffic-stoppg s- and arrts. ) But 40 years after Al Paco’s unrver p first stepped to the Mhaft, this lurid exploatn movie has been reclaimed by gay film crics such as Nathan Lee and Melissa Anrson, noticeably for the way prents the late ’70s leather-bar scene wh an almost véré-like sense of observatn.