a&e features
But what I really want to do is direct
Careers of gay filmmakers explored in new book
(Image courtesy Columbia University Press)
Author Emanuel Levy is a wealth of delightful anecdotes and insightful analysis about the movie industry. His ninth and latest book, which he describes as both his most ambitious and personal to date, examines the careers of five openly gay male directors.
“Gay Directors, Gay Films?,” slated for release on Tuesday, Aug. 25 from Columbia University Press, combines Levy’s close readings of about 70 movies with detailed examinations of the directors’ careers and his personal interviews with the filmmakers to create a compelling group portrait of five of the most influential directors working today.
Levy says his life has been dominated by a passion for film. He has had a long and distinguished career as both a film professor and film critic, which, he writes, has “been a way of anchoring myself in both the reel and the real world.” Levy has taught at Wellesley College, Columbia University and University of California-Los Angeles. He has been the chief film critic for Variety and Screen International. He’s also programmed a number of film festivals and served on juries at a number of prestigious international competitions, including Cannes and Sundance.
Among his books are biographies of George Cukor and Vincente Minnelli, two prominent Hollywood directors who were both marginalized and celebrated for their work on “women’s films” and musicals. Levy says, “They were quite a contrast. Cukor was openly gay; Minnelli was not. But both of their careers were negatively impacted by their sexuality.”
After writing about auteurs who were not able to explore explicitly gay material in their movies, Levy says it was a relief to look at the careers of five present-day directors. “It’s a different kind of research and excitement when you deal with contemporary directors whose careers are still evolving,” he says.
They were the first generation of gay directors who were able to live openly gay lives and deal with explicit LGBT material in their movies. All were born after World War II (they now range in age from 53-69) and began their careers in the late 1970s and early 1980s. Their careers were shaped by the rise of the LGBT rights movement as well as the reactionary response to increasing gay visibility and the devastating impact of the AIDS epidemic.
The five directors Levy writes about offer a rich picture of contemporary international queer cinema. They are:
- The prolific Spanish writer and director Pedro Almodóvar, best known for vibrant farces like “Women on the Verge of a Nervous Breakdown” and moody melodramas like “All About My Mother.” He helped launch the careers of Antonio Banderas, Carmen Maura and Penelope Cruz. As Levy notes, his work is known for breaking down traditional film genres as well as “contesting the supposedly stable relationship among sex, gender, desire and sexual practice.”
- British director Terence Davies, praised for his distinctive visual style, whether in films inspired by his tough working-class childhood in Liverpool or in his adaptations of literary classics. His most accessible work, an adaptation of Edith Wharton’s “The House of Mirth,” helped star Gillian Anderson break out of her “X-Files” mold.
- American Todd Haynes, best known for “Velvet Goldmine” and “Far From Heaven”; his early movies “Poison” and “Safe” helped launch the career of Julianne Moore. According to Levy, his movies explore the fragile stability of middle-class suburbia and characters that cannot be constrained by rigid social structures.
- American Gus Van Sant, known for a diverse body of work that shines a spotlight on outsiders who have been marginalized by mainstream society. His best-known films include “Drugstore Cowboy,” “My Own Private Idaho,” “To Die For,” “Good Will Hunting” and “Milk.”
- Renegade filmmaker and Baltimore native John Waters, who describes himself as the “Prince of Puke.” His collaborations with Divine ranged from the gross-out masterpiece “Pink Flamingos” to the more mainstream “Hairspray,” which has ironically become the basis for a hit Broadway musical. Waters elevated trashy films to art-house status.
Levy draws some fascinating parallels between the careers and works of these five disparate directors. Not surprisingly, each of them examines people who have been marginalized by mainstream society and look at the social, political and economic forces that have shaped these outsiders. Because of this, their work is implicitly political. As Levy writes, “by turning their cameras on marginalized figures, they subvert the normal social hierarchy.” Collectively, they made gay cinema “more explicit, accessible and acceptable.”
And just as each has been shaped by changing social norms about homosexuality, each has been shaped by changes in the economics of the film industry. All of them have been able to move between the artistic freedom of small-budget independent releases and the larger budgets and audiences of mainstream releases.
Levy has dedicated the book to his late partner Rob Remley, who died of cancer in 2011. This is the first book he has written since Remley’s death and Levy has missed his partner’s support. “He was a very good editor,” Levy says. “He paid excellent attention to detail, which I’m not always good at.”
The two met in 1981 (the year that Almodóvar started his career, Levy notes) and their first date was seeing the John Waters movie “Polyester” (Levy says Waters still “gets a kick out of that.”).
While Levy’s thoughtful discussions of the films and filmmakers are deeply informed by his academic training, the book is lively and entertaining. It’s likely to spark heated debates between LGBT cinephiles and will encourage audiences to watch old favorites with a fresh eye and to seek out titles they missed.
Like everyone else in the film industry, Levy is hoping for a sequel.
“It will be nice to update it three or four years from now,” he says.
He hopes the revised book will include a new chapter on French director François Ozon (“8 Women”) and upcoming works by four of the directors in the current book. “Carol” by Todd Haynes received cheers at the recent Cannes Film Festival, where “A Sea of Trees” by Gus Van Sant was loudly jeered. “Sunset Song” by Terence Davies will premiere at the Toronto Film Festival this fall and Almodóvar’s “Silencio” will be featured at Cannes next year.
Levy is thrilled that the official book launch for “Gay Directors, Gay Films?” will be at the iconic Provincetown Book Store in the famous LGBT resort town.
“John Waters used to work there in the 1960s,” Levy says. “He still remembers handing out fliers for ‘Mondo Trasho’ there. I hope he’s able to make it to the book launch.”
Emanuel Levy says gay directors contribute a distinctive eye to their material. (Photo courtesy HFPA)
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Summer in D.C. brings sports, Restaurant Week, festivals, and more
Summer in D.C. just hits different. Congress is out, school is out, the sun is out, thighs are out. With the skies clearing from Canadian smoke, here are a few ways to stay entertained.
Dining
Summer restaurant week: The Restaurant Association of Metropolitan Washington (RAMW) is once again hosting Summer Restaurant Week, Aug. 18-24. This weeklong dining experience showcases the dynamic dining scene of the DMV, including 2026 RAMMY Award-winning favorites (the annual D.C. food awards show that took place June 29). Participating restaurants will offer three-course brunch and lunch selections for $25 or $35 per person, and three-course dinners for $40, $55 and $65 per person.
New Restaurants: A handful of new spots have opened, so the summer is a great time to check them out:
- Oribu: A new Mediterranean-Japanese restaurant in the Grand Hyatt hotel, which just underwent a remodeling effort. The sleek restaurant brings upscale charm, with dishes like Wagyu beef tartare with potato pavé and caviar.
- The Oak Room: A snazzy old-school American grill has just opened in Georgetown, alongside its sister upstairs supper club (Bernadette’s) restaurant, in the old El Centro space.
- Uchi: This showy Japanese sushi-forward chain has landed in Dupont with a chef’s tasting menu of favorites like fatty tuna.
- Kathmandu: Recalling the capital of Nepal, this warm, buzzy subterranean restaurant right in the heart of U Street brings spice, flair, and rare ingredients to its dishes (see: buffalo burgers) and drinks.
Sports
- Washington Spirit Pride Night OUT: On Sunday, Aug. 23, head to Audi Field for a massive, high-energy game following the exciting month of World Cup. The designated Pride Night OUT game promises boisterous crowds plus pre- and post-game community engagements.
- Washington Tennis Open – Now called the Mubadala DC Open, this annual tournament is only combined mens’ and womens’ 500-level tennis tournament in the world. The open is one of D.C.’s longest-standing sports traditions, and will take place at the Rock Creek Park Tennis Center July 25-Aug. 2. Naomi Osaka, Venus Williams, Ben Shelton, Frances Tiafoe, and others are expected to play.
Festivals
- Afro Plus Fest: This huge, three-day Afro-Caribbean Hip-Hop Festival brings together headliners Davido, Alkaline, and Wizkid, plus Tems and Ayra Starr. The event moves from RFK to the Northwest Stadium Complex for three days, Sept. 4-6.
- Capital Fringe Festival: Running from July 11-21, this massive celebration features dozens of live theater, comedy, dance, and boundary-pushing nighttime performances across multiple DC neighborhoods.
- The National Book Festival returns, with headliners like Cynthia Erivo, and Martin Scorsese. The one-day festival, Saturday, Aug. 22, brings together bookworms and word nerds under the theme “America 250: It’s Your Story.” There are talks, workshops, musical sessions and more.
- All Things Go: A three-day festival Sept. 25-27 at Merriweather Post Pavilion featuring Mitski, Hayley Williams, Brandi Carlile, MUNA, Zara Larsson, Ethel Cain, and many, many more artists. There are single-day and three-day tickets. Featuring and highlighting female artists, the festival has turned into a must-see for many LGBTQ audience members.
- Fuchsia Fest: The inaugural Fuchsia Fest is a new multi-day celebration created to celebrate LGBTQ community and expression, bringing together a mix of community gatherings, entertainment, and nightlife. The event takes place Sept. 18-20 and is hosted by Capital Pride.
Art and Music
- United We Dance: A high-energy rave with house, techno, bass, and festival music, on Aug. 1 at the 9:30 Club.
- The Fray. On Aug. 14, this American rock band famous for How To Save A Life is at Merriweather Post Pavilion.
- Kesha: Kesha’s high-energy The Freedom Tour comes to the D.C. area on Aug. 14 at Jiffy Lube Live.
- ALOK: On Sept. 3 at Lincoln Theater, ALOK (they/them) performs. The poet, comedian, and actor is putting on a new comedy show.
- 2charm, the emerging Australian electronic club-pop duo popular with the queer community, which blends hyperpop and dance music, comes to the Atlantis.
- Sapphic Dance Party: a vibrant, inclusive nightlife and social event designed specifically for queer women, lesbians, bisexuals, trans individuals, and nonbinary folks, at Atlantis on Aug. 21.
- Jazz in the Garden: The most quintessential of D.C. activities returns Friday evenings through Aug. 14. This season’s theme, “American Sounds,” is a nod to the nation’s 250th anniversary. Tunes themes range from Appalachian and Americana to Creole jazz, Hill Country blues, contemporary jazz, and more. Tickets are available through a lottery system a week before each event.
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Tickets on sale for chef Patrick O’Connell’s book launch event
Sept. 18 kickoff to feature José Andrés, Tom Sietsema
Acclaimed chef Patrick O’Connell is preparing to publish his new memoir, “Main, Middle & Gay” in September and he’s launching the book with an event on Sept. 18 at 6 p.m. at Lisner Auditorium featuring Chef José Andrés and former Washington Post food critic Tom Sietsema.
Tickets for the event go on sale Tuesday, July 21 at Ticketmaster; prices start at $55.
O’Connell, who’s gay, is the pioneering Michelin-starred chef and longtime proprietor of the Inn at Little Washington. He spoke with the Blade about the September event and the launch of his first memoir.
“I’ve known [Andrés and Sietsema] for more than 25 years and I have great respect for them,” O’Connell said. “I felt that it would allow us to add a different dimension rather than just have an interviewer. The chemistry will be fun and lively and unpredictable and exciting. I think we’re all different personalities and we’ll compliment each other.”
O’Connell has published cookbooks but this is his first memoir. The event will feature a short film that will highlight his work and the Inn.
“What I hope to do with the event is bring the book to life visually,” he said. “So we’re producing a short film that will be part of it. Most of the audience will not have read the book so it’ll give them a visual flavor of the book. It parallels the evolution of American cuisine over 50 years. It’s a rare perspective to be in the trenches for that long.”
The book’s title refers to the location of the garage on the corner of Main, Middle, and Gay streets in Washington, Va., where he launched his restaurant that became an international culinary destination.
The Blade will publish the rest of its wide-ranging interview with O’Connell in September in conjunction with the book’s release.
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The queer Asian comics building collective joy in D.C.
Spotlighting chaotic ways family, romance, identity take shape in their lives
Kevin Chen’s family tombstone has room for four: him, his parents and his boyfriend. The arrangement might prove to be a little awkward.
“My boyfriend is 100% white, and my parents are 100% disappointed,” Chen confessed.
Jokes about family traditions and the untraditional ways they’re practiced earned a burst of laughs at the bar where Chen was opening for the Pride Comedy Special. The D.C. stand-up event, produced by Comedy Bonfyre last month, spotlighted queer Asian comics who shared the chaotic ways family, romance and identity take shape in their lives.
From candid oral sex takes to top surgery hypotheticals like “Where do the boobs go?”, the night highlighted the loud camaraderie of the queer Asian experience — one that sounds like a cacophony of snorts, cackles and belly laughs. While the comics say they are not quite a community, there’s more than enough shared material to bring them together.
“It was such a magical experience. I loved performing in a queer API lineup. It feels so validating,” Chen said after the show. “I’m wondering, ‘Is this how white men feel all the time?’”
Each performance evoked queer Asian joy through a medium that could use more of its presence.
According to Chen, who is based in D.C., it’s hard to say whether there is a true queer Asian comedy presence in his city. There are only a scattered “handful” of Asian comics, and people of color are underrepresented in queer comic circles, he said.
When Tarunika Anand, a nonbinary lesbian comic, first entered the mainstream D.C. comedy scene, they mostly encountered straight white men, describing the experience as “a culture shock.”
“I feel like sometimes a lot of queer spaces are really white, and then a lot of Asian spaces are really straight,” Anand said. “I don’t feel like I fit into either.”
But feeling marginalized didn’t stop these comics from honing their craft and creating spaces for others like them. Alex Kim, who headlined the special and is based in Brooklyn, runs the queer Asian comedy group Boba Gays, which began on WhatsApp and has since made its way to Lincoln Center.
Every Wednesday, Anand co-produces a free comedy show called Funny Side Up. The queer-led group focuses on inclusivity and showcasing new talent.
“It’s really beautiful to speak about your experience and your existence in a way that’s uplifting,” Anand said.
Family is a major throughline of their comedic repertoires.
Chen, for instance, shared that he identifies with jokes about having Asian immigrant parents and the expectations they pass down.
“You see me, you know this part about me, you know this experience intimately, and I can see the truth that you’re trying to wrap a joke around,” he said. “That hits even harder because that’s my truth too. I think that’s what makes good comedy.”
Anand had the audience at the special howling when they explained that their parents’ be-more-like-them comparisons didn’t end when they came out. Instead, the expectations took on a new form.
“Now, my parents want me to be the best gay,” Anand said. “They’re like, ‘Do you know Ellen DeGeneres?’”
Kim said he’s been trying to unlearn things from his Christian Korean mom. Yet he described a moment when he was getting ready for the club and realized he looked just like his mother getting ready for church.
“I’ve been finding it hard to escape her,” Kim said.
Mutual recognition also radiates through the different ways queer love can take shape. From singlehood to death-do-us-part commitments, the comics cover just about every corner.
Anand is holding out hope for settling down with “a nice, pretty, Indian girl.” They recently went through a breakup and said they felt they dodged a bullet.
“As a person of color, I just don’t think I should be with a Swiftie,” they said.
Chen, touching on what it’s like to be in a queer interracial relationship, said that meeting his white boyfriend’s baby nephew for the first time felt like he was forced to participate in a diversity, equity and inclusion training.
“The dad was like, ‘Please welcome Kevin. Be curious about his culture, his history, his foods,’” Chen joked.
Laughter is not the only reward for the comics.
To Anand, comedy is a space where they can say whatever they want. “It gives me a voice,” they said.
Nik Narain, a North Carolina-based trans and nonbinary South Asian comic who performed at the special, said meeting older trans comedians and taking the stage helped him feel reassured in his identity during his transition.
“Stand-up was a really cool way to process that onstage,” he said. “[It] became a way for me to repackage my thoughts.”
Queer Asians are still figuring out their place in the greater D.C. comedy scene. The group is small in numbers and many are still working toward a full-time comedy career. But Narain feels he’s already made it.
Narain is reluctant to pin it all on one moment. He feels that success is already peeking through in milestones — opening for celebrities, traveling to performances and self-producing shows.
“As long as I can keep doing this, I’m super happy,” he said.
This story was produced as part of the AAJA VOICES fellowship program, a student journalism project of the Asian American Journalists Association (AAJA).
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