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.
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.