This article is by our guest writer, Isabelle Miller.
Happy pride everyone! During the month of June, we reflect on the Stonewall Riots of 1969 and the activists who started the LGBTQ movement. It’s a time to advocate for the LGBTQ community, celebrate their culture, and naturally, watch some great films (though, when is there not a good time for this?). In the late 1970s, artist Gilbert Baker decided to create a flag in representation of the LGBTQ community. Today, the rainbow flag represents LGBTQ pride all across the world. The different colors carry various meanings such as life, healing, sunlight, peace, spirit, sex, art/magic, people of color, and HIV/AIDS.
In celebration of pride month, here’s a list of LGBTQ films based on some of those colors!
This essay is by our guest writer, Maddy Lovelace.
It is evident in the way Elio Perlman’s entire psyche is altered by mature graduate student Oliver within the summer of 1983 that there is a new funk hidden in this archetype we’ve seen before, possibly a homage to film in previous times that mirrored life and love and sensuality. Director of 2017’s Call me by your name Luca Guadagnino’s direct view of these themes can be attributed to similar work such as James Ivory’s 1987 film Maurice, revealing just how impactful an insightful reception of a cinematic journey can be upon a wandering eye. There is a direct link between the lovers in the two films, how they carry their heavy consciousness regarding love around like a summer coat. Coming of age continues to carry this magnified burden of life through the generations, consequently allowing itself to unfold through emerging artist’s diverse and retrospective lenses. In Guadagnino’s usage of Elio’s ambiguous yet direct understanding of his sexuality, he plays to this new medium that audiences of cinema have come to love because they parallel the undertones of the self that linger within the events at hand. Elio is not shocked by the way his love for Oliver takes place so hauntingly because he knew, as audiences come to feel in the film’s soft essence, Elio knows of his truth long before Oliver arrives. Oliver in this sense serves as the catalyst for Elio’s subconscious desires that have been there since the beginning yet remained dormant. Guadagnino captures the fire and flame of Coming of age cinema in his perceptive parallelism to reality. Could this be the new standard for films based on
a shifting point in life?
It’s been a great year for movies. From the blockbusters that broke box office records (‘Beauty and the Beast’, ‘Wonder Woman’, ‘Star Wars: The Last Jedi’) to the new-found classics with a real social impact (‘Get Out’, ‘Call Me by Your Name’), many films released this year will doubtlessly be well-remembered for decades to come. There’s been controversial releases from much-loved directors (‘mother!’, ‘The Killing of a Sacred Deer’), some fantastic sequels, remakes and franchise continuations (‘Logan’, ‘Blade Runner 2049’, ‘Thor: Ragnarok’) and even a new Rotten Tomatoes record for critical acclaim (‘Lady Bird’). Of course, as per usual, some movies haven’t quite hit the mark, but best not to mention those. Instead, we’ll talk about the movies that we truly loved in 2017, the very best of the best, in a year that’s been very important for film. Without further ado, our top 15 of the year:
15. Three Billboards Outside Ebbing, Missouri
Martin McDonagh’s latest is a dark comedy about the ongoing anger in our world and what happens as it explodes into something far worse. But for as much as past mistakes may have driven one’s own soul to where they are headed to in the present, Martin McDonagh’s newest black comedy isn’t so much what would have been expected. What I first entered thinking it would be another vulgar comedy in the veins of In Bruges and Seven Psychopaths wasn’t only that, but to my own surprise it was also a rather stunning portrait of grief – in order to balance the satire present with the way the American morale is perceived by many. In this world that Martin McDonagh has created, there are no heroes, there’s only anger and it explodes into more anger, we laugh along but quickly enough it bites back since we know that in this world we know that there is no greater authority that wants to control the anger. It only feels more fitting in this day and age when you come to consider that America’s driving force is anger. In the most unexpected ways, Three Billboards Outside Ebbing, Missouri is actually rather hopeful amidst the darker surface and it’s also Martin McDonagh’s most optimistic film – driven by a powerhouse performance by Frances McDormand. Right next to her own role in the Coen brothers’ Fargo, it seems like the most fitting counterpart because of their antonymous morals, but it’s that anger it drives from one’s own mind that leaves ourselves to reflect upon what we have in store for the future.
As Much Ado team, we always try our best to bring you reviews from newest films, coverages from festivals we can barely afford to go and well thought essays that take weeks to write. Right now, you’ll see everyone publishing their top films of 2017, which we plan to do after December 25th. But in the meantime, being the professional young adults we are, we decided to bring you a more important list: Kinkiest of 2017! We can assure you that this list took long discussions and as it happens with any group of mostly LGBT 20-somethings, we came up with a lot of them. But we decided, for our readers’ sake, to do just Top 5!
Like most people on Film Twitter, I first discovered ‘Call Me By Your Name’ after hearing its rapturous reception from Sundance and reading the flurry of tweets hailing it as a masterpiece. I was instantly dying to see it and the thought of waiting until the end of the year bothered me and refused to go away, like an itch that’s impossible to reach. I think I might just be addicted to good cinema, willing to go to any lengths to get another fix. So I did what any person without self-restraint would do — I bought plane tickets to Berlin, and dragged my friend to see the film on the last day of Berlinale, under the pretense of a mid-term holiday. She thought the film was fine, but it affected me far more than I ever anticipated. That very same week, I came out as bisexual.