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class="available-ntent"><div dir="to" class="body markup"><p>Dear rear,</p><p><span>Over the last few weeks the Amerin media appears to have llapsed on self as a rult of s eternal qut for ‘reprentatn.’ HBO Max’s </span><em>Velma, </em><span>centrg around a more racially diverse st and an openly lbian tular lead,</span><em> </em><span>has been ripped to shreds by the prs and public alike, wh Variety’s Joshua Alston wrg “the biggt mystery of “Velma” is why needs to exist” [1]; over on MTV, </span><em>Drag Race</em><span> fans are up arms that the show’s slot has been slashed om 90 to 60 mut to make way for t</span><em>he Real Friends of WeHo</em><span>, a new Real Hoewiv-style realy show focg on the liv of gay men Wt Hollywood. The backlash got so bad that a petn was lnched to have pulled om the air before the first episo was even available which has currently amassed over 30,000 signatur [2] and the show’s social media acunts have been subject to trollg on an unimagable sle (jt take my word for , some of the imag om their repli have been burned to the back of my skull).</span></p><p></p><div class="ptned-image-ntaer"><figure><a class="image-lk is-viewable-img image2" target="_blank" href=" data-ponent-name="Image2ToDOM" rel="nofollow ugc noopener"><div class="image2-set"><picture><source type="image/webp" srcset=" 424w, 848w, 1272w, 1456w" siz="100vw" /><img src=" width="1456" height="819" data-attrs="{"src":"" class="sizg-normal" alt srcset=" 424w, 848w, 1272w, 1456w" siz="100vw" fetchprry="high" /></picture><div class="image-lk-expand"><svg xmlns=" width="16" height="16" viewBox="0 0 24 24" fill="none" stroke="#FFFFFF" stroke-width="2" stroke-lep="round" stroke-lejo="round" class="luci luci-maximize2"><polyle pots="15 3 21 3 21 9"></polyle><polyle pots="9 21 3 21 3 15"></polyle><le x1="21" x2="14" y1="3" y2="10"></le><le x1="3" x2="10" y1="21" y2="14"></le></svg></div></div></a></figure></div><p><span>(A promotnal material for </span><em>the Real Friends of WeHo. </em><span>Cred: Twter, @RealFriendsMTV)</span></p><p></p><p>This post isn’t an attempt to argue that reprentatn isn’t worth pursug. Of urse is. But there are ways of gog about .</p><p><span>And today I want to wre a few words about a recent film that took an approach to reprentatn I’ve never experienced before. That film beg Charlotte Wells’s but feature film, </span><em>Aftersun</em><span>.</span></p><p></p><p><strong>A Wele Surprise</strong></p><p><span>If one go by the material surroundg </span><em>Aftersun</em><span>, you’d be fiven for not knowg had queer them at all. A lot has been ma of Pl Ml’s tenr, nuanced portrayal of Calum (rightly so), the amazg feat of stg puttg him onscreen alongsi Frankie Cor as his young dghter Sophie to create the most naturalistic relatnship I n remember seeg portrayed que some time (aga, rightly so), and the surprisg matury and sgulary of Wells’s visn so early on her reer (RIGHTLY SO).</span></p><p>And yet, among many other thgs, is disputably a film about a girl on the edge of puberty and the nflictg sexual feelgs this creat for her. Where are the ments on this? In fact, a Google search for “Aftersun gay” or “Aftersun queer” brgs up articl and fora about Calum’s sexualy, not Sophie’s spe her beg nfirmed as queer the momentary flash-forwards peppered throughout the film. One particularly cendiary Wordprs er, who won’t be lked here, suggts Calum eher “stggl wh prsn, is gay, or stggl wh prsn bee he’s gay.” Another claims that Sophie “isn’t aware of homosexualy” until she advertently tch two boys makg out unr the stairs.</p><p><span>Perhaps this reflects the prs’s tenncy to foc on male characters and the actors portrayg them. Perhaps there are a lot fewer queer film wrers out there than there should be. Bee when I sat down for </span><em>Aftersun </em><span>I had no clue had queer them at all, let alone that would somehow achieve a visceral queer experience unlike any I’ve felt before.</span></p><p></p><div class="ptned-image-ntaer"><figure><a class="image-lk is-viewable-img image2" target="_blank" href=" data-ponent-name="Image2ToDOM" rel="nofollow ugc noopener"><div class="image2-set"><picture><source type="image/webp" srcset=" 424w, 848w, 1272w, 1456w" siz="100vw" /><img src=" width="1280" height="720" data-attrs="{"src":"" class="sizg-normal" alt srcset=" 424w, 848w, 1272w, 1456w" siz="100vw" loadg="lazy" /></picture><div class="image-lk-expand"><svg xmlns=" width="16" height="16" viewBox="0 0 24 24" fill="none" stroke="#FFFFFF" stroke-width="2" stroke-lep="round" stroke-lejo="round" class="luci luci-maximize2"><polyle pots="15 3 21 3 21 9"></polyle><polyle pots="9 21 3 21 3 15"></polyle><le x1="21" x2="14" y1="3" y2="10"></le><le x1="3" x2="10" y1="21" y2="14"></le></svg></div></div></a></figure></div><p><span>(Pl Ml and Frankie Cor </span><em>Aftersun. </em><span>Cred: Brish GQ)</span></p><p></p><p><strong>It’s All In The Gaze</strong></p><p><span>A lot of </span><em>Aftersun’s </em><span>queerns stems om the way the gaze, and as such a ltle tour to film philosophy feels appropriate. Gaze theory broadly fed asks how and why the mera and the dience looks at certa imag certa ways. The gaze theory most people will be faiar wh is the “male gaze,” ed by Lra Mulvey her semal article </span><em>Visual Pleasure and Narrative Cema </em><span>[3], other words Hollywood cema’s tenncy to place men an objective posn and women a subjective posn om whom we are to rive visual pleasure.</span></p><p>A queer gaze, or how a film might be able to pture the experience of beg queer beyond merely showg a kiss between two people of the same genr, has also been theorised but remas signifintly ls flhed-out than s “female” and “male” unterparts. This might have somethg to do wh amia’s attempts to queer absolutely everythg by makg queer a by-word for nstctn or post-mornism while ignorg the fact that for most people queer is eher (a) a word to scribe the LGBTQ+ muny or (b) a word to sult the LGBTQ+ muny, pendg on your generatn.</p><p><strong>The Queer Gaze Aftersun</strong></p><p><em>Aftersun </em><span>is one of the first films I’ve seen where the merawork has actively simulated somethg approachg my own lived queer experience. Inially I was ma to feel unfortable. The lgerg shots on pubcent upl’ bodi agast one another, Calum’s central stggle as a young father, and Sophie’s steadily growg relatnship wh a boy she meets the hotel’s ar gave me the imprsn of an evable heterosexualy. “This film is very well shot and acted,” I said to myself, “but as a queer person there are lims to the extent to which I n engage wh .”</span></p><p></p><div class="ptned-image-ntaer"><figure><a class="image-lk is-viewable-img image2" target="_blank" href=" data-ponent-name="Image2ToDOM" rel="nofollow ugc noopener"><div class="image2-set"><picture><source type="image/webp" srcset=" 424w, 848w, 1272w, 1456w" siz="100vw" /><img src=" width="976" height="549" data-attrs="{"src":"" class="sizg-normal" alt srcset=" 424w, 848w, 1272w, 1456w" siz="100vw" loadg="lazy" /></picture><div class="image-lk-expand"><svg xmlns=" width="16" height="16" viewBox="0 0 24 24" fill="none" stroke="#FFFFFF" stroke-width="2" stroke-lep="round" stroke-lejo="round" class="luci luci-maximize2"><polyle pots="15 3 21 3 21 9"></polyle><polyle pots="9 21 3 21 3 15"></polyle><le x1="21" x2="14" y1="3" y2="10"></le><le x1="3" x2="10" y1="21" y2="14"></le></svg></div></div></a></figure></div><p><span>(Frankie Cor </span><em>Aftersun. </em><span>Cred: BBC)</span></p><p></p><p>The most potent scene this regard is when Sophie leav Calum for an hour to play pool wh an olr group of kids. Together they mock a young uple kissg by the bar and then by the pool. The mera pulls jt close enough to their bodi to create an tense unease: beyond societal taboos around prentg young peopl’ sexualy, their bodi look young and agile while the adolcent libido flowg through them is clear their proximy body language. The other kids jeer at them, but the way jealo teenagers always do when they see their peers fulfillg their own reprsed fantasi. Likewise, when Sophie and one of her new acquatanc ph the uple to the pool a prank, the rt of the gang quickly jump after them. The mera then mov unrwater, showg the characters’ bodi but never their fac. We see them tangled, prsg together, one givg another a piggy back, all prented together a heady mix that occupi a strange boundary between childish whimsy and emergg sexualy.</p><p>In the fifth row of screen 1, meanwhile I ntued to squirm. Not only was unnny watchg moments that one assum to be fairly universal while knowg your queerns meant you were exclud om those experienc, but was also jt slightly unfortable watchg the slow march towards an evable one-(cis)boy-lov-one-(cis)girl paradigm. Let alone the level of implied sexual ntact among characters que that young. Maybe I was jt a late bloomer.</p><p>It’s only the film’s third act that ’s revealed that this uneass may have been the film’s tentn all along. In a blk-and-you’ll-miss- flash-forward to an adult versn of Sophie we see her bed wh another woman, and the distance a baby n be heard cryg. The nventns of narrative cema would dictate the implied meang is that said baby belongs to the two women onscreen.</p><p><span>A lot of piec fell to place this moment. If you were stg next to me the cema, you most likely would have heard the gears slowly beg to grd together my head. What if the film </span><em>wanted </em><span>s viewer to feel unfortable bee some part of Sophie then or ‘prent-day’ Sophie now felt somethg siar. Perhaps shots were held a moment too long bee when Sophie saw the uple she didn’t que know where to look or what to feel; perhaps the mish mash of bodi the swimmg pool were tend to show her attractn but also her nfn. A feelg like somethg wasn’t que right. A feelg that wh time, self-exploratn, and prumably a ltle b of explorg others, would grow to full bodied queerns. A feelg I knew well om my own life story.</span></p><p><strong>The Work of Reprentatn</strong></p><p><span>This is only a suggtn based on my own personal experience of the film. Lord knows I have a tenncy to look for the queer where there is none. I’m not alone that - prived of proper reprentatn for s, many queer people stctively hunt for queerns as an stct spe the wealth of queer cema we now enjoy. Sometim has unlikely nsequenc - </span><em>M3GAN</em><span>’s transcennce to queer in beg a more recent example [4].</span></p><p></p><div class="ptned-image-ntaer"><figure><a class="image-lk is-viewable-img image2" target="_blank" href=" data-ponent-name="Image2ToDOM" rel="nofollow ugc noopener"><div class="image2-set"><picture><source type="image/webp" srcset=" 424w, 848w, 1272w, 1456w" siz="100vw" /><img src=" width="1456" height="819" data-attrs="{"src":"" class="sizg-normal" alt srcset=" 424w, 848w, 1272w, 1456w" siz="100vw" loadg="lazy" /></picture><div class="image-lk-expand"><svg xmlns=" width="16" height="16" viewBox="0 0 24 24" fill="none" stroke="#FFFFFF" stroke-width="2" stroke-lep="round" stroke-lejo="round" class="luci luci-maximize2"><polyle pots="15 3 21 3 21 9"></polyle><polyle pots="9 21 3 21 3 15"></polyle><le x1="21" x2="14" y1="3" y2="10"></le><le x1="3" x2="10" y1="21" y2="14"></le></svg></div></div></a></figure></div><p><span>(A still om </span><em>M3gan</em><span>. Cred: The Daily Beast)</span></p><p></p><p><span>And we’re lucky we n do so; for many muni s not so easy as speculatg whether or not Velma and Daphne were actually love, or whether Harry and Ron secretly held hands on their way back om dner. And that’s why good, tertg reprentatn is important. There are gog to be hicughs along the way, but that’s not a reason not to try. Creativ n learn om the mistak and hopefully, someday, everyone will see somethg that they feel reprents their experience as well as I feel </span><em>Aftersun </em><span>ptur queer adolcence. If only the prs were more willg to let people know jt how queer a film is.</span></p><p><strong>Referenc</strong></p><p><span>[1] J. Alston, “HBO Max’s ‘Velma’ Can’t Sre Up a Reason to Exist: TV Review,” </span><em>Variety, </em><span>11, January, 2023. [Onle]. Available: </span><em><a href=" rel="nofollow ugc noopener"></a></em><span> [Accsed Jan. 23, 2023]</span></p><p>[2] , “Brg back 90 mute episos of RuPl’s Drag Race and not air The Real Friends of WeHo.” [Onle]. Available: [Accsed Jan. 23, 2023]</p><p><span>[3] L. Mulvey, “Visual Pleasure and Narrative Cema,” </span><em>Screen</em><span>, vol. 16, no. 3, pp. 6-18, 1975. Available: Oxford Journals, </span><em><a href=" rel="nofollow ugc noopener"></a></em><span> [Accsed Nov. 8, 2022]</span></p><p><span>[4] E. Piepenburg, “A Doll That Wears Sunglass Wh Attu? Oh, ‘M3gan’ Is a Gay Movie,” </span><em>The New York Tim, </em><span>19, January, 2023. [Onle]. Available: </span><em><a href=" rel="nofollow ugc noopener"></a></em><span> [Accsed Jan. 23, 2023]</span></p></div></div><div class="visibily-check"></div><div class="post-footer"><div class="pencraft ontend-pencraft-Box-module__flexGrow--mx4xz ontend-pencraft-Box-module__ret--VfQY8 ontend-pencraft-Box-module__display-flex--ZqeZt ontend-pencraft-Box-module__flex-jtify-space-between--NvIcg ontend-pencraft-Box-module__flex-align-center--rSd6h ontend-pencraft-Box-module__flex-gap-16--TpblU ontend-pencraft-Box-module__paddg-y-16--ohCEm ontend-pencraft-Box-module__borr-top-tail-themed--e17yZ ontend-pencraft-Box-module__borr-bottom-tail-themed--eVwFY post-ufi"><div class="pencraft ontend-pencraft-Box-module__ret--VfQY8 ontend-pencraft-Box-module__display-flex--ZqeZt ontend-pencraft-Box-module__flex-gap-8--HFpIK"><div class="like-button-ntaer post-ufi-button style-button"><a role="button" class="post-ufi-button style-button no-label wh-borr"><svg role="img" style="height: 20px; width: 20px;" width="20" height="20" viewBox="0 0 24 24" fill="#000000" stroke-width="2" stroke="#000" xmlns=" class="in"><g><tle>.