There is a profound sense of anger that grows in you when you consume films as an LGBT+ person. You find that there are so few films that feature someone like you in them, and most of the ones that do are created by straight people who fetishize you or your community’s struggles. LGBT+ filmmakers who are given a platform are also rarely funded unless they create films which pander to a predominantly straight audience. It becomes exhausting never to see yourself on screen unless it is to die as a martyr for the larger cisgender, heterosexual population. This is why Arthur Bressan Jr.’s Buddies serves as such a well-praised pillar of queer cinema. And now, with its recent release on DVD and Blu-ray for the very first time, it is available to those whose lives it will no doubt change.Continue reading “Arthur Bressan Jr.’s ‘Buddies’ Is an Important Piece of Gay History That Needs to Be Seen”
Genre films have always gotten a bad rap. Even when they are praised, it usually feels like a backhanded compliment — “I turned off my brain and enjoyed the ride,” or “It was just a really simple and fun film” are often used to offer both praise and dismissal in equal measure. But there is power in simplicity. In Dark Waters, Todd Haynes knows when it is necessary, and how to harness it for the benefit of both the film and its audience. This is an impressive feat.Continue reading “Todd Haynes Uses Genre Simplicity to His Advantage in ‘Dark Waters’”
As a transgender man, I have a complicated, strange, and usually arduous relationship with masculinity. Why are men so obsessed with the fact that they are men? For people who claim to be independent and strong, why is is validation from someone they perceive as superior (read; more powerful) so important to them? Why is violence, hatred, and ugliness seen as so essential to being a man in mainstream society? I ask myself these questions constantly. They keep me up at night. The same questions seem to keep Riley Stearns up at night as well, as indicated in his new film, The Art of Self Defense.
Continue reading “Negotiating New Masculinities in ‘The Art of Self Defense’”
If you’ve ever seen a Jim Jarmusch film, it’s pretty easy to catch on to his style and cadence: the importance of music, a celebration of strangeness, and every character seems bored out of their minds no matter what’s going on around them. The Dead Don’t Die (2019) is no different, except this time there’s flesh eating zombies caused by corporate fracking. But don’t worry, Iggy Pop is still there.
Ever since his role in The Big Sick in 2017, Ray Romano seems to have made a comeback and proven to audiences that he can play both comedy and drama in equal measure. Netflix’s Paddleton allows him to prove this yet again, cast alongside indie film veteran Mark Duplass.
This is the second film that director Alex Lehmann has worked on with Mark Duplass, having released Bluejay in 2016—which is also labeled as a Netflix original. Mark and Jay Duplass have been powerhouse producers of the independent cinema scene for years now, and it was announced just last year that Netflix would have the screening rights to their next four films, with Paddleton being the first of that contract.
Last night, at the 25th Annual Screen Actors Guild Awards, Alan Alda was presented with his lifetime achievement award. Today, it is his 84th birthday. Here, I reflect back on the strangely wide effect that Alan Alda has had in my own lifetime.
With David Byrne’s True Stories (1986) releasing on Criterion today in a beautifully restored 4k edition supervised by Mr. Byrne himself, I have been thinking a lot about what makes the film so unique, and loved by so many. There is a tendency to see the film as a scathing critique of small town southern life, rather than a celebration of the idiosyncrasies that can exist in a place so removed from the rest of the world. To see True Stories this way, however, is to seriously misinterpret not only the film, but David Byrne as a person.
It is understandable that fans of Byrne’s band The Talking Heads – known for its deceivingly upbeat pessimism – would want to see a film about a town full of neurotics, fools, and people whose favorite pastime is going to an outlet mall as a harsh criticism of suburban life; that we are meant to laugh at these people rather than with them. However, what True Stories really marks is the beginning of Byrne stepping away from that pessimism. It is only in hindsight that this becomes abundantly clear, as we see what Byrne is up to now. His new album, pointedly called American Utopia takes a much more positive (although not at all ignorant) approach to the current state of the world than, say, songs such as Only the Flowers or Life During Wartime. In fact, Byrne has been working continuously on a project called Reasons to Be Cheerful that shares technological innovations, social movements, and optimistic profile pieces from all over the world, with the sole purpose to restore faith in humanity during a time where it feels like there may not be much of that left.