Slovenia’s first LGBTQ-themed film, Consequences (or Posledice, 2018), is an arresting portrayal of what happens when institutional and judicial structures fail young gay men. The debut film by director Darko Štante asks: if men haphazardly placed in youth detention centers do not receive adequate support, what happens to the gay men in it? How do failing political structures further marginalise gay men, and leave them twice-removed from society?Continue reading “‘Consequences’: On Gay Loneliness and the Spectacle of Hyper-Masculinity”
“Is this paint the kind that shines in the dark? Do you have someone who makes you happy? Someone who makes you shine like paint?”
While an unflinching look at the plight of LGBTQ Brazilians up to this day, Hard Paint (or Tinta Bruta, 2018) is a sweepingly tender portrayal of gay love. Directed by Brazilian writer-director pair Filipe Matzembacher and Marcio Reolon, the film astutely illuminates the realities of poverty, sex work, and gay loneliness amidst the backdrop of rising homophobic violence against Brazilian LGBTQ people.Continue reading “‘Hard Paint’ and the Tenderness of Gay Love”
In most cases, a man in a leather mask masturbating while watching a young man dance would be a red flag. But at the sex club in the opening of Yann Gonzalez’s Knife+Heart, this is expected and even encouraged. The masked man and the young dancer go home together, presumably for a night of fun. However, it all goes downhill when this man reveals he has a dildo knife and kills his partner. This is Gonzalez’s ridiculously delicious opening of his queer slasher for the ages about a killer tracking down porn stars in Paris during the summer of 1979.
Anne Parèze (played by the ethereal Vanessa Paradis) is a porn producer who exclusively makes gay male porn at a discount. Her performers are constantly demanding payment, even discussing their paychecks mid-blow job. Meanwhile, Anne won’t stop drinking her pain away after a breakup with her girlfriend of 10 years, who is also her editor. Amidst this turmoil, someone begins picking off her porn stars one by one, casting a shadow of fear over the studio. But while performing her grief, Anne decides to use these crimes as inspiration for her next porno, Homo-cidal. The narrative intertwines her desire to make the next great porn film, her investigation into the killer, and her declining mental state in the face of a broken relationship.
The Criterion collection is not the most inclusive of lists. The majority of films introduced into the canon belong to cisgender and heterosexual filmmakers. While the lack of representation reflects cinema as a whole, and Criterion tends to lean towards an era not known for acceptance, it’s still a disappointing fact. Regardless of this, there are a handful of gay filmmakers whose works have been given the Criterion seal of approval, a trusted sign of the contributions they have made, not only to the art of filmmaking, but to the gay cinematic community as a whole.
Mysterious Object at Noon (2000)
Weerasethakul, affectionally known by his fans as “Joe”, is an experimental filmmaker whose interest in the unconventional makes his feature-length debut, Mysterious Object at Noon, a must-watch from Criterion’s archive. Taking the concept of exquisite corpse (a surreal method by which art is assembled based on chance), Weerasethakul combines documentary filmmaking with art-house style, pushing the boundaries of cinema and successfully creating a patchwork story from various interviewees across Thailand.
Though Weerasethakul’s debut does not explicitly address sexuality, the theme is often explored across his work, alongside various subjects such as nature, Western perceptions of Asia, and dreams. His passion for looking beyond the expectations of the mainstream is undoubtedly influenced by his homosexuality. “For me, the word queer means anything’s possible,” Weerasethakul explained in an interview, allying himself immediately with the concept of queer cinema.