“Mum, I’m gay.”
For those outside of the LGBTQ+ community, the weight of these three words (or their counterparts; “I’m bisexual”/“I’m transgender”, etc) can be difficult to comprehend. Many well-meaning people even question the necessity of such a declaration, blissfully unaware of the continued assumption that everyone is cisgender and heterosexual. For LGBTQ+ individuals, however, ‘coming out’ is often an intrinsic part of our personal development; the reaction of family and friends to one’s true self has ruined as many lives as it has made. Within this community, the majority of us have our own story – whether that story be tragic or comic, neat or messy, drawn-out or quickly resolved— and it is the broadcasting of these tales that Denis Parrot’s documentary Out concerns itself with.
The film takes clips of individuals either informing their relatives of their sexuality/gender or reflecting on their coming out stories, and presents these videos in a clear manner void of all context bar the name of the person, their location, and the time of recording. Largely – though not entirely – from the perspective of young people, these intimate moments are captured and memorialised. Assembled roughly within Parrot’s film, the viewer is exposed to the full range of experiences, from the breathtaking relief of loving acceptance, to the despair of violent rejection.
Continue reading “Fragments Film Festival ’19: ‘Out’ exhibits an essential part of the LGBTQ+ experience”
In her short film This Perfect Day (2019), Australian-Chinese Director Lydia Rui paints an intimate, and quietly moving portrait of isolation, longing and reconciliation. We begin with a young adult, Jules, (Michelle Keating) who nervously braces themselves in a car before entering a music store, while their girlfriend (Hannah Koch) assures them that there is a reason why they are here today. They enter the music store and look around anxiously, as if suggesting to the audience that a robbery is about to happen. However, what happens next is a profoundly empathetic study on the desire to reunite with the ones we love, even when there is so much that can no longer be salvaged. Continue reading “Tribeca 2019 Review: On Longing, Reconciliation, and Hope in ‘This Perfect Day’”
The campy villain is undoubtedly one of the biggest staples of traditional animation; this trope runs through film and television alike, regardless of audience and story. From The Lion King to The Powerpuff Girls, Gravity Falls to Wreck-it-Ralph, the comedically limp-wristed bad guy is an intrinsic part of American society’s casually homophobic output, setting up an environment where these behaviours are automatically associated with social ills.
The historical context of this stereotype is explored in Richard Squire’s documentary ‘Doozy’, through the example of comedian and voice actor Paul Lynde (1926-1982). Lynde, otherwise known for roles in Bewitched and Bye-Bye-Birdie, is fondly remembered as the voice of various ‘campy villains’ across four Hanna-Barbera productions – Charlotte’s Web, It’s the Wolf, Where’s Huddles? and The Perils of Penelope Pitstop. Squires utilises a combination of interviews, animated re-enactments, and talking heads to trace Lynde’s life in relation to the stereotype he so brilliantly portrayed, with ample consideration for the personal and professional impact this may have had on him as an individual.
Continue reading “‘Doozy’ Successfully De-mystifies the Queer-Coded Villain”
“No family. No friends.”
These are the words which first expose the true vulnerability of 74-year-old drag queen Jackie Collins (also known as Jack) in the independent British drama, Tucked. He is talking to his doctor, who has just informed him that he has weeks left to live. Hated by his daughter and plagued with regret for his past decisions, Jack has nothing but the dingy bar where he performs, and the love of a roaring audience—that is, until new queen Faith sweeps into his life complete with eight-inch killer heels. Young, stylish and non-binary, Faith represents a newer age of drag, but it is their shared exclusion from the world which bonds the two queens, and leads to a unique friendship that neither could have anticipated.
Continue reading “BFI Flare LGBTQ+ Film Festival 2019 Review: Found-Family Dynamics Warm The Heart in ‘Tucked’”
Many critics of Desiree Akhavan’s The Bisexual have condemned it for not being explicitly subversive enough, somehow implying that because of Akhavan’s bisexuality, she necessarily has to write a neat arc which leads up to a climatic acceptance of main character Leila’s sexuality. I believe that form of criticism in itself is worth interrogating: Why do we expect LGBTQ-centered media (particularly, those by LGBTQ artists) to live up to a totalising and universalising narrative, when all of us have differing experiences on sexuality because of our varied socio-political circumstances? And why do we place the burden on LGBTQ people to figure out all there is to do with sex, gender and sexuality when the world is persistently denying and censoring our access to all these things? Continue reading “Art, Autobiography, and Sexuality in Desiree Akhavan’s ‘The Bisexual’”
Last year, there was one film that seemed to take up almost all of the space in my head. For all the wonderful movies that came in 2017, none occupied my thoughts or meant more to me than one in particular – this was Luca Guadagnino’s masterful Call Me By Your Name, a film that I have written hundreds of adoring words on over the past ten months, and which I hardly felt I could do justice to in my work. I am not here, however, to revisit Call Me By Your Name but, rather, to discuss the film that appears to have had the same effect on me this year. Though we may only be in September, I doubt that I will find another feature in the coming months that will impact me as much as Desiree Akhavan’s The Miseducation of Cameron Post. Just as Guadagnino’s film gripped every part of me last year, so has Akhavan’s – her depiction of a young, gay woman’s battle with both herself and the cruelty of her environment is as heart-wrenching as it is witty, and feels to me as beautiful and as vital to queer cinema as Call Me By Your Name.
Continue reading “‘The Miseducation of Cameron Post’ – on Its Beauty, Its Bravery, and How Important It Is to Gay Women”
This essay is by our guest writer, Levin Tan.
You could say that David Cronenberg is something of a Freudian fanboy.
His body of work is frequently dissected by esteemed film critics and scholars using psychoanalytic approaches, particularly with his early career horror films that plunge you into the visceral and the venereal. This is no surprise – after all, psychoanalysis carries a heavy emphasis on images and metaphors relating to sex and the body. However, when considering psychoanalysis from a modern day perspective, it is clear that it has its issues. We currently live in a time where sexuality and gender allow for fluidity, making Freud’s rigid adherence to the male-female binary appear rather stale. For Freud, the “male” is always antecedent to the “female”; as if consulting the story of Eve being born from Adam’s rib, so, too, did Freud view the female as a derivative of the male.
Continue reading “What Transpires Within: Self-realisation and Trans Narratives in ‘Dead Ringers’”