Bohemian Rhapsody is essentially a biopic about Queen’s lead singer Freddie Mercury, who died of AIDS-related pneumonia in 1991. In the starring role, Rami Malek (the Emmy-winning star of Mr. Robot) struts about onstage in ballet tights and presents himself, in more ways than one, as the whole package.
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THIS YEAR I’ve reviewed half a dozen of the ten or so films that I saw in June at the Provincetown International Film Festival—not officially an LGBT filmfest, but hey, it’s P’town.…More
The Gospel According to André Directed by Kate Novak Magnolia Pictures THIS YEAR promises a bumper crop of film documentaries. Already released are films on Grace Jones, Ruth…More
Disobedience Directed by Sebastián Lelio DISOBEDIENCE is a gripping drama based on the 2006 novel of the same name by Naomi Alderman. The film is directed by Chilean…More
Love, Simon Directed by Greg Berlanti 20th Century Fox TO UNDERSTAND the appeal of the sweet but spineless film, you first have to understand the mindset of the…More
Tom of Finland’s contribution to this world went beyond the basic raison d’être of erotica, bringing together a new community of gay men that hadn’t existed before.
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BATTLE OF THE SEXES recounts what was in fact the battle of the decade: the women’s movement and the sexual revolution versus the inevitable male chauvinist backlash, all telescoped into a single event in 1973.
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Call Me by Your Name seems far more old-fashioned than [Brokeback Mountain]. Although set in 1983, the film of André Aciman’s novel is reminiscent of the sort of thing that happens in novels of the 19th-century Russian writer Ivan Turgenev. (Indeed, the first chapter of Aciman’s new novel, Enigma Variations, is a rewrite of Turgenev’s First Love, with a gay twist.)
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That Little Caesar served as the model for the American gangster film is made all the more noteworthy by the way in which Rico is depicted, to the extent possible in this era, as ambiguously gay. Unlike his cohorts, he shows little interest in the opposite sex. When women are mentioned, he snarls contemptuously, “Women! Where do they get ya?”
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At times Venkatesh’s categorization of Maricón and New Maricón cinema comes across as a distinction between “gay” and “queer” films. To an extent this analogy holds true.
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