a&e features
Lesbian love story becomes thriller in ‘Two of Us’
More Hitchcockian potboiler than heartfelt sociopolitical drama
American cinema may finally have entered an era when there are more LGBTQ stories on our screens, but it must be acknowledged that, as much of a hard-won blessing this may be, an entire generation (or two) of our community’s older members are still being left out of the picture.
That’s true, of course, for older people across the board. American movies, focused eternally on profit, aim for a younger, more lucrative demographic, and stories about the over-50 crowd usually don’t make the cut. As the industry shifts to a post-pandemic future that includes more at-home viewing options for feature film releases, that imbalance may begin to change – but in the meantime, thankfully, we can still look to Europe for movies about our queer elders.
The latest such offering is France’s official entry for the Oscar category formerly known as Best Foreign Language Film, “Two of Us” (titled “Deux” in its native country), stars two veterans of Euro-cinema as a long-term lesbian couple who unexpectedly find themselves dealing with the consequences of living in the closet.
Nina (Barbara Sukowa) and Madeleine (Martine Chevallier) are two retired women who have been secret lovers for decades. Living in separate apartments on the same floor of the same building, they have maintained the illusion of being merely neighbors for the sake of Madeleine’s adult children, who have no idea their mother is gay; now they have plans to sell their homes and move together to Rome, as they have always wanted to do. But before that can happen, Madeleine suffers a massive stroke that puts her in the hospital and renders her unable to communicate – forcing Nina to take increasingly extreme measures in order to be by the side of the woman she loves.
Decades of experience with narratives like the one presented here is likely to lead audiences to expect a grim-but-important story about the need to fight against cultural homophobia and discrimination; but while those things may factor into the screenplay penned by director Filippo Meneghetti and co-writer Malysone Bovorasmy for “Two of Us,” what it delivers has arguably more to do with the habit of being repressed than it does with repression itself. In any case, it diverts us from our expectations quickly; after setting itself up as a late-in-life “coming out” story, it veers without warning into a milieu that more closely resembles a Hitchcockian potboiler than a heartfelt sociopolitical drama. That’s no accident, according to Meneghetti. The director has said his intention was “to shoot this love story as if it were a thriller,” and it’s a tactic that works across multiple layers.
The lynchpin on which this approach hangs is Madeleine’s closeted status with her children. Once her awareness is dimmed and her ability to speak is removed, perhaps forever, it’s too late for her to come out; moreover, it’s impossible for her to convey her desire to have her beloved by her side, or even that she is anything more than an acquaintance. As a consequence, Nina is placed in an impossible position, but one she is determined to surmount. Initially, she finds excuses – a visit to check in on her “neighbor” at the hospital, an offer to lend a hand with the various burdens of care – but when these begin to wear thin, her efforts escalate. Using tactics of stealth, manipulation, and bold-faced dishonesty, she follows the imperative of her heart into progressively dangerous, even illegal action. As she does, Meneghetti depicts her downward spiral with all the trickery of a slasher film, complete with menacing characters, shadowy hallways, and jump scares; we’re never sure what is waiting for her in the darkness or just beyond the door. By the time she reaches her desperate endgame, however, he has taken us beyond the tropes of his faux-horror conceit and brought us squarely into the climax of a caper film.
In terms of storytelling, all this genre-jumping technique effectively pulls the viewer out of the distanced, intellectual space into which we are initially lulled and thrusts us instead into a more visceral mindset. More importantly, perhaps, it has the effect of forcing us to identify in a more personal way with its protagonists, causing us to experience their harrowing circumstance more directly than we might from the safe distance allowed by an exploration of social issues.
At the same time, the film’s primary setting lends itself to a craftily subliminal observation about public and private identity. The two women’s nearly identical apartments, separated by a stair landing, have open doors when we first see them, creating a shared space that they inhabit together; but later, when other people are inevitably brought into the mix by Madeleine’s condition, the opening and closing of these same doors becomes an intricate dynamic in Nina’s efforts to reach her lover. Meneghetti has also said the idea for his movie actually came from his encounter with a real-life living arrangement like the one shared by Nina and Madeleine. As a result of this architectural inspiration, the film’s carefully arranged physical geography invites us to contemplate the way our behavior is governed by privacy. To put it more simply: it confronts us with the notion that who we are, and what we do, often depends on whether or not anyone can see us.
A final revelation from the filmmaker touches on what elevates “Two of Us” beyond the sum of its eclectic set of parts. In discussing his two leading characters, he has said, “I didn’t want us to feel sorry for them.” It’s this desire to avoid sentiment that makes us engage so fully with the story. Each of the lovers makes questionable choices, and neither the script nor the performances (both Sukowa and Chevallier are exquisitely real) make any effort to mitigate their culpability in their own unfortunate crisis. At the same time, Madeleine’s daughter (Léa Drucker, also giving a delicate, layered performance) serves as the film’s antagonist, but she is no raging homophobe. When she begins to suspect that something is not as it seems with her mother’s overly concerned neighbor, her hostile response is not so much over any issue of sexuality as it is out of anger about being lied to.
That last point begs the question of why Nina never even considers trying to tell the truth about her relationship with Madeleine to her daughter. The answer to that is something the movie never really gives us, but surely challenges us to contemplate.
“Two of Us,” like the season’s other LGBTQ drama about an older couple facing a health crisis, “Supernova,” faces the obstacle of being perceived as a “downer” in a time when most audiences are likely to prefer lighter fare. But, also like “Supernova,” it is surprisingly upbeat. It’s also engaging, suspenseful, powerful, and – perhaps most unexpected of all – exciting in an edge-of-your-seat kind of way. That, along with its excellent performances and a tour-de-force turn from its filmmaker, should be more than enough to make it a must-see for anyone who likes their LGBTQ movies to be outstanding cinema, too.
a&e features
Memorial for groundbreaking bisexual activist set for May 2
Loraine Hutchins remembered as a ‘force of nature’
The Montgomery County Pride Center will host a celebration honoring the life and legacy of Loraine Hutchins, Ph.D., on May 2. People are invited to attend the onsite memorial or a livestream event. The on-site event will begin at 10 a.m. with a meet-and-greet mixer before moving into a memorial service around the theme “Loraine a Force of Nature!” at 11 a.m., a panel talk at 12 p.m., break out sessions for artists, academics, and activists to build on her legacy at 1 p.m. and a closing reception at 2 p.m.
Attendees are encouraged to register for the on-site memorial gathering or the livestreamed memorial. The goal of this event is also to collect stories and memories of Loraine. Attendees and others can share their stories at padlet.com.
An obituary for Hutchins was published in the Bladelast Nov. 24, where people can learn more about her activism in the bisexual community. A private service for friends and family was held in December but this memorial service is open to all.
Alongside her groundbreaking work organizing for U.S. bisexual rights and liberation including co-editing “Bi Any Other Name: BIsexual People Speak Out” (1991), she also integrated faith into her sexual education and advocacy work. Her 2001 doctoral dissertation, “Erotic Rites: A Cultural Analysis of Contemporary U.S. Sacred Sexuality Traditions and Trends,” offered a pointed queer and feminist analysis to sex-neutral and sex-positive spiritual traditions in the United States. Her thesis was also groundbreaking in exploring the intersections between sex workers and those in caregiving professionals, including spiritual ones.
In an oral history interview conducted by Michelle Mueller back in August 2023, Hutchins described herself as a “priestess without a congregation.” While she has occasionally had a sense of community and feels part of a group of loving people, she admitted that “I don’t feel like we have the shape or the purpose that we need.”
“I’ve often experienced being the Cassandra in the room, the Cassandra in the community. Somebody who’s kind of way out there ahead, thinking through the strategic action points that my community hasn’t gotten to yet, and getting a lot of resistance and hostile responses from people who are frightened by dissent and conflict and not ready for the changes we have to make to survive,” she said.
“For somebody who’s bisexual in an out political way and who’s been a spokesperson for the polyamory movement in an out political way, it’s very exposing. And it’s very important to me to be able to try to explain and help other people understand the connection between spirituality and sexuality,” she explained citing how even as a graduate student she was “exploring how to feel erotic and spiritual, and not feel them in conflict with each other in my own spiritual contemplative life and my own sensual body awareness of being alive in the world.”
“Every religion has a sense of sacred sexuality. It’s just they put a lot of boundaries and regulations on it, and if we have a spiritual practice that is totally affirming of women’s priesthood and of gay people, queer people’s ability to minister to everyone and to be ministered to be everyone, what does that do to the gender of God, or our understanding of how we practice our spirituality and our sexuality in community and privately?”
“There’s no easy answer,” she concludes, and she continued to grapple with these questions throughout her life, co-editing another seminal text, “Sexuality, Religion and the Sacred: Bisexual, Pansexual, and Polysexual Perspectives,” published in 2012. Her work blending spiritual and queer liberation remains groundbreaking to this day.
Rev. Eric Eldritch, a local community organizer and ordained Pagan minister with Circle Sanctuary who has worked for decades with the DC Center’s Center Faith to organize the Pride Interfaith Service, is eager to highlight this element of her legacy at the memorial service next month.
a&e features
Queery: Meet artist, performer John Levengood
Modern creative talks nightlife, coming out, and his personal queer heroes
John Levengood (he/him) describes himself as a modern creative with a wide‑ranging toolkit. He blends music, technology, civic duty, and a sharp sense of wit into a cohesive artistic identity. Known primarily as a recording artist and performer, he’s also a self‑taught music producer and software engineer who embodies a generation of creators who build their own lanes rather than wait for one to appear.
Levengood, 32, who is single and identifies as gay and queer, is best known as a recording artist who has performed at Pride festivals across the country, including the main stages of World Pride DC, Central Arkansas Pride, and Charlotte Pride.
“Locally in the DMV, I’m known for turning heads at nightlife venues with my eye-catching sense of style. When I go out, I don’t try to blend in. I hope I inspire people to be themselves and have the courage to stand out,” he says.
He’s also known for hosting karaoke at Freddie’s Beach Bar in Arlington, Va., on Thursday nights. “I like to create a space where people feel comfortable expressing themselves, building community, and showcasing their talents.”
He also creates social media content from my performances and do interviews at LGBTQ+ bars and theatres in the DMV. Follow the Arlington resident @johnlevengood.
How long have you been out and who was the hardest person to tell?
I have been fully out of the closet since 2019. My parents were the hardest people to tell because my family has always been my rock and at the time I couldn’t imagine a world without them. Their reactions were extremely positive and supportive so I had nothing to fear all along.
I remember sitting on the couch with my mom, dad, and sister in our hotel room in New Orleans during our winter vacation and being so nervous to tell them. After I finally mustered up the nerve and made the proclamation, I realized my dad had already fallen asleep on the couch. My mom promised to tell him when he woke up.
Who’s your LGBTQ hero?
My LGBTQ heroes are Harvey Milk for paving the way for gays in politics and Elton John for being a pioneer for the fabulous and authentic. My local heroes in the DMV are Howard Hicks, manager of Green Lantern, and Tony Rivenbark, manager of Freddie’s Beach Bar. Both of them are essential to creating spaces where I’ve felt welcome and safe since moving to the DMV.
What’s Washington’s best nightspot, past or present?
Trade tops the list for me because of the dance floor and outdoor space. It’s so nice to get a break from the music every once and a while to be able to have a conversation.
We live in challenging times. How do you cope?
I’m still figuring this out. What is working right now is writing music and spending time with family and friends. I’ve also been spending less time on social media going to the gym at least three times a week.
What streaming show are you binging?
After “Traitors” Season 4 ended, I was in a bit of a show hole, but “Stumble” has me in a laughing loop right now. The writing is so witty.
What do you wish you’d known at 18?
At 18, I wish I would have known how liberating it is to come out of the closet. It would have been nice to know some winning lottery numbers as well.
What are your friends messaging about in your most recent group chat?
We are planning our next trip to New York City. If you can believe it, I visited NYC for the first time in 2025 for Pride and I’ve been back every quarter since. Growing up in the country, I was subconsciously primed to be scared of the city. But my mind has been blown. I can’t wait to go back.
Why Washington?
It’s the closest metropolitan area to my family, but not too close. I love the museums, the diversity, the history, and the proximity to the beach and mountains. It’s also nice to live in a city with public transportation.
Aging RFK Stadium has come down, but the RFK grounds are still getting lit up. Welcome back to the stage Project GLOW, D.C.’s homegrown electronic festival, on May 30-31. Back for its fifth year on these musically inclined acres, Project GLOW returns with an even more diverse lineup, and one that continues to celebrate LGBTQ antecedents, attendees, and acts.
Project GLOW 2026 headliners include house and techno star Mau P, progressive house legend Eric Prydz, hard-techno favorite Sara Landry, and bass acts Excision b2b Sullivan King, among the lineup of trance, bass, house, techno, dubstep, and others for the fifth anniversary year.
President & CEO Pete Kalamoutsos — born and raised in D.C. — founded Club GLOW in 1999. In 2020, GLOW entered into a partnership with global entertainment company Insomniac Events to produce live events like Project GLOW, which kicked off in 2022.
As in past years, Project GLOW not only makes space, but is intentionally inclusive of the LGBTQ community, one of its most dedicated fan bases. The festival’s LGBTQ-focused Secret Garden stage blooms again — a more intimate dance area that stands on the strength of DJs and musicians who draw from the LGBTQ community. D.C.’s LGBTQ nightlife mastermind Ed Bailey is the creative mind behind Secret Garden again. He joined Project GLOW in 2023.
“Kalamoustos says that “he’s proud of his partnership with Ed Bailey, along with Capital Pride and [nightlife producer] Jake Resnikow. It’s amazing to collaborate with Bailey at the Secret Garden stage, especially after the curated lineup we worked on at Pride last year.”
The Secret Garden will be a bit different from other stages: Eternal (“At the Eternal stage, time stands still. Lose yourself in the dance of past, present, and future, surrendering to the eternal rhythm of the universe”) and Pulse (“Feel the rhythm of the beat pulse through your veins as the heartbeat of the crowd synchronizes into one. Here, every moment vibrates with life as it guides you through a new dimension of euphoria”). The Secret Garden stage is in the round, surrounded by 16 shipping containers. The containers play canvas to muralists from around the world, who are coming in to paint them in a vibrant garden-style vibe. “We gave this stage some extra love with this layout,” K says, “ we finally cracked the code.”
K says that this will be the biggest lineup yet for the Secret Garden, featuring Nicole Moudaber b2b Chasewest, Riordan b2b Bullet Tooth, Ranger Trucco, Cassian, Eli & Fur, Cosmic Gate and Hayla. The stage is also the largest yet, featuring an expanded dance floor and 360-degree viewing.
Across all stages, K says that his goal for the fifth anniversary is “More art and fan interactive experience, more like a festival, strive to be like a Tomorrowland, as budget grows to add more experience.” Last year’s Project GLOW alone drew 40,000 attendees over two days.
K, however, was not satisfied with one festival this spring. GLOW recently announced a “pop-up” one-day event. Teaming up with Black Book Records, GLOW is set to throw a first-of-its-kind dance-music takeover of Pennsylvania Avenue, N.W., headlined by electronic music star Chris Lake. Set for April 18, this euphoric block party will feature bass and vibes blocks from the White House. Organizers expect as many as 10,000 fans to attend. Beyond music, there will be food, activations, and plenty of other activities taking place around 6th St and Pennsylvania Ave NW – a location familiar to many in the LGBTQ community, as this sits squarely inside the blocks of the Capital Pride party that takes place in DC every June.
Over the past two decades, Club GLOW has produced thousands of events, from club nights to large-scale festivals including Project GLOW, Moonrise Festival, and more. Club GLOW also operates Echostage.
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