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‘Everything’ lands queer endorsement as movie of the year

Dorian Awards add to momentum for breakout film as Oscars near

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Jamie Lee Curtis and Michelle Yeoh in ‘Everything Everywhere All at Once.’ (Photo courtesy of A24)

For Oscar handicappers – or anyone else who loves movies and enjoys playing the yearly game of picking favorites and predicting winners during Hollywood’s glitzy awards season – last weekend’s presentation of the Screen Actors Guild Awards was a crucial event.

As the last “big” awards ceremony before Academy Award night (which takes place this year on March 12), the SAG Awards’ film category winners are often seen as a clear indicator of which films and performers have the momentum to win there, too. It’s not surprising they should be seen as significant, but this year, thanks to some history-making wins (including firsts for Asian-American talent and a single movie’s sweep of all but two of the film categories), there was even more reason to pay attention.

SAG was not the only organization to bestow its film awards last week, however. Though they received less fanfare, the 14th Annual Dorian Awards – announced on Feb. 23 by GALECA, the Society of LGBTQ Entertainment Critics – offered a slate of winners that reflected a queer eye on the films of 2022; and while they might not be as much a barometer for the tastes and attitudes of the industry insiders who vote for the big film awards, it should be noted that its choices align surprisingly often with those of SAG and the rest of mainstream Hollywood.

That’s partly because, although they do include a handful of LGBTQ-specific categories, the Dorians don’t just honor queer films. GALECA’s voters – a group of more than 400 professional queer entertainment critics, journalists, and media icons – look at the same movies as their straight colleagues; they present the Dorians (named as a nod to iconic queer writer Oscar Wilde and his most famous literary creation) as a way “to remind bigots, bullies and our own communities that the world often looks to the Q+ eye for unique and powerful entertainment,” and to ensure that a queer perspective is represented amid Hollywood’s yearly bestowal of honors. While there have been notable divergences, such as the occasional queer title like “Carol” or “Call Me By Your Name” supplanting their more hetero-friendly competitors for Film of the Year, recent Dorian honors have tended more to mirror the mainstream consensus than defy it.

This year is no exception. “Everything Everywhere All at Once,” the genre-splicing serio-comic sci-fi sleeper whose jaw-dropping sweep at the SAG show has made a similar triumph at the Oscars feel all but inevitable, also scored a lion’s share of honors from the Dorians, winning in seven of its nine nominated categories – even achieving the triple feat of being chosen as Best Film, Best LGBTQ Film and Most Visually Striking Film. For Lead Film Performance – all nominees, regardless of gender, vie for a single award in the each of the two acting categories – Yeoh, long embraced by queer fans, edged out not only Blanchett but favored male competitors like SAG winner Brendan Fraser and Golden Globe winners Colin Farrell and Austin Butler, while co-star Ke Huy Quan continued his inspiring victory lap by being chosen for Supporting Film Performance. Rounding out their movie’s tally, filmmakers Daniel Kwan and Daniel Scheinert won in both the Director and Screenplay categories. As a bonus, while technically awarded for “EEAAO,” Yeoh was also the winner of the Wilde Artist Award, a special Dorian given yearly “to a truly groundbreaking force in film, theater and/or television,” and fellow cast member Stephanie Hsu was named as Rising Star of the Year – honors almost certainly fueled by their work in “EEAAO.”

In other categories:

The UK import “Aftersun,” Charlotte Wells’ thoughtful father-daughter tearjerker starring Paul Mescal, which also is also nominated for Best Picture and Best Actor Oscars, was awarded the Dorian for Best “Unsung” Film.

“All the Beauty and the Bloodshed,” director Laura Poitras’ searing documentary about famed bisexual photographer Nan Goldin and her mission to shame the Sackler Big Pharma dynasty for profiteering on America’s opioid crisis, took both Best Documentary and Best LGBTQ Documentary; it’s also Oscar-nominated as Best Feature Documentary, the only queer-related doc to have made the cut there.

In the Best Animated Film category, the Dorians went against the tide by choosing “Marcel the Shell with Shoes On,” the charming and deceptively absurd stop-motion “mockumentary” adapted from a widely popular series of YouTube shorts, over “Guillermo Del Toro’s Pinocchio.” Both films are competing at the Oscars, as well.

For Best Non-English Language Film, the Dorians did what the Oscars cannot by picking “RRR” – the epic Telugu-language musical adventure fantasy about two South Indian rebels fighting to push British colonials from their homeland in the 1920s, rendered ineligible for the Academy’s equivalent category by India’s failure to submit it as the country’s official entry for consideration as Best International Feature. The film, a worldwide box office sensation from S.S. Rajamouli (India’s most commercially successful director), did snag an Oscar nomination in the Best Song category for “Naatu Naatu.”

Though “Tár” – a critically acclaimed but divisive cinematic portrait of a fictional lesbian symphony conductor accused of serial sexual misconduct in the workplace – ended up as an also-ran in most of its nominated categories, it didn’t go away empty-handed; composer Hildur Guðnadóttir, also nominated for her work on “Women Talking,” took home the award for Best Score. A former Oscar winner (for 2019’s “Joker”), she failed to earn an Academy nomination this year for either film.

In a category unique to the Dorians, the cheeky horror prequel “Pearl,” which starred co-writer Mia Goth as an ax-wielding wannabe in 1918 Texas, took the double-edged honor of Campiest Film of the Year. Other nominees included “Glass Onion: A Knives Out Mystery” and Baz Luhrmann’s “Elvis,” as well as the aforementioned “RRR.”

Finally, a relatively new special Dorian honor, the GALECA LGBTQIA+ Film Trailblazer Award, went to nonbinary actor-singer Janelle Monáe (also a nominee for Best Supporting Performance for “Glass Onion”), whose win puts her in the company of groundbreaking LGBTQ directors Isabel Sandoval and Pedro Almodóvar, both former winners, as a queer pioneer in the ever-evolving cinematic medium.

As for how much influence the Dorians might have on Oscar voters, even most of the GALECA membership would likely say “not much.” That’s not the point, however; indeed, the increasingly frequent parallel between their picks and those of their mainstream compatriots might well be better interpreted as a reminder of the LGBTQ community’s role as “tastemakers” for the wider world. We’ve always been there, even when we were kept out of sight, helping to shape the aesthetic that dominates popular culture, and the fact that our tastes – as filtered through the representative cross-section of GALECA’s members, at least – are now so often represented in the content that achieves the industry’s highest honors is cause enough to celebrate.

As GALECA Executive Director John Griffiths puts it, “No matter what’s going on in the mind of a certain Florida governor and his ilk, the best movies, and TV too, will only continue to reflect what’s going on in the real world—and parallel ones too. Looking at our nominees and winners, you can let out a nice, deep breath.”

The complete list of Dorian winners and nominees is below:

Film of the Year
Aftersun (A24)
The Banshees of Inisherin (Searchlight)
Everything Everywhere All at Once (A24) – WINNER
The Fabelmans (Universal)
Tár (Focus Features)

LGBTQ Film of the Year
Benediction (Roadside Attractions)
Bros (Universal)
Everything Everywhere All at Once (A24) – WINNER
The Inspection (A24)
Tár (Focus Features)

Director of the Year
Todd Field, Tár (Focus Features)
Daniel Kwan and Daniel Scheinert, Everything Everywhere All at Once (A24) – WINNER
Martin McDonagh, The Banshees of Inisherin (Searchlight)
Sarah Polley, Women Talking (United Artists)
Charlotte Wells, Aftersun (A24)

Screenplay of the Year
Todd Field, Tár (Focus Features)
Daniel Kwan and Daniel Scheinert, Everything Everywhere All at Once (A24) – WINNER
Martin McDonagh, The Banshees of Inisherin (Searchlight)
Sarah Polley, Women Talking (United Artists)
Charlotte Wells, Aftersun (A24)

Non-English Language Film of the Year
All Quiet on the Western Front (Netflix, Amusement Park)
Close (A24)
Decision to Leave (Mubi, CJ Entertainment)
EO (Sideshow, Janus Films)
RRR (DVV Entertainment, Variance Films) – WINNER

Unsung Film of the Year (To an exceptional movie worthy of greater attention)
Aftersun (A24) – WINNER
After Yang (A24)
Benediction (Roadside Attractions)
The Eternal Daughter (A24)
Good Luck to You, Leo Grande (Searchlight)
The Menu (Searchlight)
Emily the Criminal (Vertical/Roadside Attractions)

Film Performance of the Year
Cate Blanchett, Tár (Focus Features)
Austin Butler, Elvis (Warner Bros.)
Viola Davis, The Woman King (Sony)
Danielle Deadwyler, Till (United Artists)
Colin Farrell, The Banshees of Inisherin (Searchlight)
Brendan Fraser, The Whale (A24)
Mia Goth, Pearl (A24)
Paul Mescal, Aftersun (A24)
Jeremy Pope, The Inspection (A24)
Michelle Yeoh, Everything Everywhere All at Once (A24) – WINNER

Supporting Film Performance of the Year
Angela Bassett, Black Panther: Wakanda Forever (Disney, Marvel)
Hong Chau, The Whale (A24)
Jaime Lee Curtis, Everything Everywhere All at Once (A24)
Dolly De Leon, Triangle of Sadness (Neon)
Nina Hoss, Tár (Focus Features)
Stephanie Hsu, Everything Everywhere All at Once (A24)
Barry Keoghan, The Banshees of Inisherin (Searchlight)
Janelle Monáe, Glass Onion: Knives Out (Netflix)
Keke Palmer, Nope (Universal)
Ke Huy Quan, Everything Everywhere All at Once (A24) – WINNER

Documentary of the Year
All the Beauty and the Bloodshed (Neon) – WINNER
Fire of Love (Neon, National Geographic)
Good Night Oppy (Amazon Studios)
Moonage Daydream (Neon)
Navalny (Warner Bros.)

LGBTQ Documentary of the Year
All the Beauty and the Bloodshed (Neon) – WINNER
Framing Agnes (Kino Lorber)
Moonage Daydream (Neon)
Nelly & Nadine (Wolfe Releasing)
Sirens (Oscilloscope)

Animated Film of the Year
Guillermo del Toro’s Pinocchio (Netflix)
Marcel the Shell with Shoes On (A24) – WINNER
Puss in Boots: The Last Wish (DreamWorks, Universal)
Turning Red (Disney, Pixar)
Wendell & Wild (Netflix)

Film Music of the Year
Babylon – score by Justin Hurvitz (Paramount)
Elvis – score and music production by Elliott Wheeler; the music of Elvis Presley; various artists (Warner Bros.)
RRR – score by M.M. Keeravani (DVV Entertainment, Variance Films)
Tár – score and curation by Hildur Guðnadóttir (Focus Features) – WINNER
Women Talking – score by Hildur Guðnadóttir (United Artists)

Visually Striking Film of the Year
Avatar: The Way of Water (20th Century)
Babylon (Paramount)
Everything Everywhere All at Once (A24) – WINNER
Nope (Universal)
RRR (DVV Entertainment, Variance Films)

Campiest Flick of the Year
Babylon (Paramount)
Bodies Bodies Bodies (A24)
Elvis (Warner Bros.)
Glass Onion: A Knives Out Mystery (Netflix)
Pearl (A24) – WINNER
RRR (DVV Entertainment, Variance Films)

Rising Star Award
Austin Butler
Frankie Corio
Stephanie Hsu – WINNER
Gabriel LaBelle
Jenna Ortega
Jeremy Pope

Wilde Artist Award
To a truly groundbreaking force in film, theater and/or television
Cate Blanchett
Billy Eichner
Janelle Monáe
Keke Palmer
Michelle Yeoh – WINNER

GALECA LGBTQIA+ Film Trailblazer Award
Janelle Monáe

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Nick Kroll and Andrew Rannells want to adopt baby in ‘I Don’t Understand You’

Film premiered at SXSW in Austin

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(Courtesy photo)

Editor’s note: Jack Morningstar attended SXSW in Austin, Texas.

“I Don’t Understand You” focuses on a couple whose romantic Italian getaway devolves into bloody chaos while they prepare to adopt their first child. 

The film, while veering into hilariously gruesome hijinks, tells the story of a gay couple who is willing to kill for a chance at fatherhood. It sheds light on the hurdles that same-sex couples often go through in the adoption process: Financial burdens, time constraints, fraud, and in this case, a rural Italian family.

The film premiered last weekend at SXSW in Austin and stars Nick Kroll and Andrew Rannells along with Nunzia Schiano, Morgan Spector and Eleonora Romandini. It was written and directed by Brian Crano and David Craig, who are married. They sourced inspiration from their own adoption struggles and an Italian vacay gone wrong. 

“We were about to leave for Italy when we found out that we had matched with a birth mother and our son would be born in about six weeks,” said Crano. 

According to Craig, the trip was tense and it culminated in their car getting stuck in a ditch on their way to an anniversary dinner.

“We ended up at an old lady’s house after she rescued us in her Fiat. Her family cooked us a meal and we stayed up drinking with them until 3 a.m., not understanding a word they were saying,” he said.

Without spoiling anything, the couple in the movie go to absurd lengths to ensure that their adoption goes through. Craig explained that the theme of the movie was “what would you do for your kid.” 

“We were three years into our own journey at the time and realized we would literally do anything to make that dream a reality. It’s really a love letter to our son,” he said.

The film is hard to relegate to a single genre. 

“When conceiving the story, we saw it as different parts — romantic comedy, horror movie, murder play — but I think by bringing in Nick and Andrew that blend actually became much more of an organic mix where the comedy sustained throughout. They elevated it in a more elegant fashion,” said Craig. 

“I Don’t Understand You”was produced by Pinky Promise, a women-led production company with the mission to elevate diverse voices in their storytelling. Kara Durrett, Pinky Promise’s current president was a champion of this script from the beginning. Founder Jessamine Burgum recounts that when Durrett was onboarding, she said “If you don’t get [“I Don’t Understand You”] I don’t know if this is going to work.” 

It ultimately became one of the first projects Burgum and Durrett collaborated on. 

Kroll and Rannells’ chemistry carried the film. 

“There was a desire to work with each of them because they had both separately been in such amazing comedian teams — like Andrew with Josh Gad and Nick with John Mulaney. Nick and Andrew’s characters are in almost every scene of the movie together, so they needed to be adept to basically doing a shared performance. There was no one more well-positioned to do this as naturally as possible,” said Crano. 

Their characters are easy to root for, yet also deeply flawed. 

“A big thing we wanted to do with this movie, and with all of our work in telling stories, is avoid telling a cliched gay trauma film. We’ve never ascribed to the idea that there is a subcategory to film that is LGBTQ, rather — movies are for everyone. We want to make a movie where gay characters are flawed, not for being gay, but because of who they are. They can be villains, but they are our protagonists,” said Craig. 

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Previewing queer movie and TV highlights for spring

New options coming despite recent Hollywood strikes

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Andrew Scott stars in ‘Ripley’ on Netflix. (Image courtesy of Netflix)

The Hollywood awards season has come to an end at last, which means we can finally look forward to some fresh new movies hitting screens over the next few weeks. And although the actors’ strike of 2023 has led to inevitable delays in bringing new content to our televisions for the spring, there are a few titles to watch for there, as well.

Girls 5Eva: Season 3 (March 14, Netflix)

The under-the-radar cult hit musical comedy series from Peacock, following a Y2K-era girl group that reunites to take advantage of a wave of millennial nostalgia, returns for a third season after being resurrected by Netflix. Lauded for its sharp and funny skewering of pop culture and the music industry and cut from the same zany, absurd cloth as “The Unbreakable Kimmy Schmidt” (much of its creative team are veterans of that hit show), it’s the kind of giddy-but-smart, rapid-fire comedy that begs to be binged. Starring Sara Bareilles, Busy Philipps, Renée Elise Goldsberry, and Paula Pell as a divorced lesbian dentist, fans will surely be logging on to watch as soon as it drops, but new viewers are encouraged to jump on board for this one, too. 

Love Lies Bleeding (March 15, theaters)

Rumbling into theaters after an auspicious premiere at this year’s Sundance Festival, this pulpy 1980s-set lesbian-themed thriller from director Rose Glass (“Saint Maud”) is touted as “an electric new love story” and promises to take viewers on a wild ride with its story of a reclusive gym manager (Kristen Stewart) from a criminal family who falls in love with an aspiring bodybuilder (Katy O’Brian) on her way to Las Vegas to follow her dreams; unfortunately, their romance sparks unexpected violence, dragging the new lovers deep into a dangerous web of crime and intrigue. Though it was given limited release in New York and Los Angeles on March 8, it expands wide on March 15. Also starringJena Malone, Anna Baryshnikov, and Dave Franco, with Ed Harris as Stewart’s crime boss father. Consider it a must-see.

Femme (March 22/29, limited theaters with national expansion to follow)

From the UK comes this taut noir-ish thriller about a prominent London drag artist (Nathan Stewart-Jarrett) who, while stepping out one night after a show to buy cigarettes, is brutally attacked by a man (George MacKay) and his gang of friends. Left traumatized by the experience, he retreats into isolation – but when he recognizes his attacker in a chance meeting at a gay sauna, he begins an affair with the closeted bully, hoping to enact a plan of revenge. Co-writer/directors Sam H. Freeman and Ng Choon Ping developed the film as an expansion of their award-winning 2021 short film of the same name, and the resulting debut feature premiered to enthusiastic acclaim at the 2023 Berlin Film Festival. Also starring Aaron Heffernan, John McCrea, and Asha Reid.

Ripley (April 4, Netflix)

This long-awaited eight-episode limited series adapts lesbian literary icon Patricia Highsmith’s novel “The Talented Mr. Ripley” for yet another screen incarnation – there have been at least four so far, most famously the 1999 feature film version starring Matt Damon, Jude Law, and Gwyneth Paltrow – and stars queer Irish actor Andrew Scott (BBC’s “Sherlock”, “Pride”, “All of Us Strangers”) as the title character, who is sent by a wealthy man to persuade his son to return home from an extended trip to Italy. Once there, however, the ambitious Ripley finds himself irresistibly drawn into the privileged life of leisure led by young Dickie (Johnny Flynn) and his girlfriend Marge (Dakota Fanning), and he embarks into “a complex life of deceit, fraud and murder.” Shot in an elegant black and white that evokes its early 1960s setting, show creator/writer/director Steve Zaillian says his adaptation was crafted to provide an interpretation  more faithful to the story and closer in tone to Highsmith’s novel than has been seen before, which is great news for fans of the original Ripley, whose adventures were continued by the late author throughout three further books after the success of the first, perhaps paving the way for follow-ups to this adaptation should it live up to the high expectations that accompany it. Eliot Sumner, Maurizio Lombardi, and John Malkovich also star.

Housekeeping for Beginners (April 5, limited theaters)

Another festival darling, this Macedonian film won the Queer Lion prize at Venice in 2023, and was submitted as an official selection for Best International Feature at the Academy Awards. While it didn’t make the cut for Oscar, it’s hitting US screens for a limited release next month – no doubt on the strength of writer/director Goran Stolevski’s previous feature, “Of An Age”, an Australian coming-of-age romance between two young men that made multiple “Best of the year” lists (including ours) in 2023. Revolving around a woman finds herself raising her girlfriend’s two troublemaking daughters despite having no interest in being a mother, the synopsis describes it as an exploration of “the universal truths of family,” framed in a “heartwarming story” of clashing wills “about an unlikely family’s struggle to stay together.” The pedigree alone is enough for us to suggest catching this one, if you can, when it hits theaters. Starring Anamaria Marinca, Alina Șerban, Samson Selim, Vladimir Tintor, Mia Mustafa, Džada Selim, Sara Klimoska, Rozafë Çelaj, Ajse Useini.

Glitter & Doom (April 9, digital)

Billed as “a fantastical queer romance set to the hit music of the Indigo Girls,” this indie oddball made a theatrical debut earlier this month, but heads to digital and VOD on April 9. It’s the “love at first sight journey” of its title characters, two young dreamers – an aspiring circus performer (Alex Diaz) and a struggling musician (Alan Cammish) – who embark on “an epic summer romance” until they find their love threatened by “the realities of pursuing their dreams.” Though we haven’t yet seen it ourselves, the buzz promises a campy yet uplifting and exuberant good time, and a star-studded queer-centric cast that includes Tig Notaro, Missi Pyle, Ming Na-Wen, Lea DeLaria, B-52s diva Kate Pierson, “Drag Race” alum Peppermint, Broadway star Beth Malone, and yes, even the Indigo Girls themselves.

Challengers (April 26, theaters)

From “Call Me By Your Name” director Luca Guadagnino comes this buzzy romantic triangle starring “Euphoria” and “Dune” star Zendaya as a former tennis prodigy turned coach whose husband – a champion on a losing streak (Mike Faist, “West Side Story”) – must face off against a washed-up former best friend (Josh O’Connor, “The Crown,” “God’s Own Country”) that also happens to be his wife’s former boyfriend. According to the synopsis, “pasts and presents collide and tensions run high,” and though details are scarce beyond the basics we’ve already shared, rumors (as well as a few not-so-subtle hints in the trailers) suggest that things might take a decidedly bisexual turn. Whether or not that should turn out to be true, Guadagnino’s name on the credits is enough reason to make this a queer must-see – especially with a cast as vibrant and talented as the one he has assembled.

I Saw the TV Glow (May 5, limited theaters)

Also coming from Sundance is this horror thriller from writer/director Jane Schoenbrun, produced by recent Oscar-winner Emma Stone (with husband Dave McCary) and starring queer actor Justice Smith and Brigette Lundy-Paine as two troubled teens who bond over a fantasy TV series and find their realities starting to blur after its cancellation. Praised by reviewers for its surreal style and its exploration of queer and trans themes within its mind-bending, darkly disorienting framework, it’s likely not the kind of movie that will resonate with all viewers – but it’s probably a great match for those who enjoy their horror on the abstract side. 

In addition to all these, though their premiere dates are still not set, three much-loved  TV series are set to return this spring. Streaming network Max will debut the third seasons of both Hacks and The Sex Lives of College Girls, two popular shows with heavy queer appeal. The former, starring Jean Smart and Hannah Einbinder, is a multi-award-winning comedy about the unlikely creative partnership between an old-school stand-up legend and an edgy young comedy writer who loathe each other – or at least did in the beginning. After two seasons of alternately awkward, bittersweet, and hilarious misadventures together, they might have warmed up to each other a bit, but we’re betting that won’t keep them from locking horns. 

The latter, starring Renée Rapp, Pauline Chalamet, Alyah Chanelle, and Amrit Kaur, is also a comedy, following four freshman roommates at a fictional college as they explore love and friendship, financial stability and personal independence, and – of course – sex. It would have a draw for queer audiences even without the sapphic subplots, and for its enthusiastic fans, queer or otherwise, it will surely be a must watch.

Finally, the venerable UK sci-fi adventure series Dr. Who is set to return to the BBC sometime in May, when out queer actor of color Ncuti Gutwa (“Sex Education”, “Barbie”) officially becomes the 15th incarnation of the shape-shifting titular time lord – a role he already previewed to much fan approval in a Christmas special late last year. While the charms of this long-running fan franchise may escape viewers without an appreciation for the kind of campy intellectual fantasy that is its trademark appeal, Gutwa’s charmingly fabulous persona might be just the thing to bring a whole new army of queer converts into the fandom.

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No problem with ‘Problemista’

Julio Torres’s debut film hints at greater achievements to come

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Julio Torres and Tilda Swinton in ‘Problemista.’ (Photo courtesy of A24)

Confronted with the title of queer SNL alumnus Julio Torres’s debut feature film, the first question that comes to mind for many people might be, “What’s a ‘Problemista’?”

For the millions of retail workers, reception staffers, and hospitality clerks, however,  or anyone else whose job it is to interface with the public, the label – coined by Torres to describe the particular kind of driven personality embodied in his movie by headliner Tilda Swinton – may be, if not familiar, at least evocative enough to convey its meaning. 

We’ve all encountered them, actually; entitled, self-righteous, demanding, aggressively impatient, and unwilling to accept anything less than complete capitulation for an answer, they are the people every cashier dreads to see (and every customer loathes to be behind) in line. They seem to thrive on drama, and they don’t care how much it inconveniences or disturbs anyone in their radius. In fact, they seem at times to relish doing so, as if they were striking a blow against social injustice by bullying a grocery clerk into honoring an expired coupon. In short, they might be described as a sort of contemporary urban warrior whose response to a problem is to become a problem until they get the solution they want. But by legions of waiters and customer service reps, they are typically just described as “the customer from hell.”

The central character in Torres’s stylish, smart, and surrealistically infused contemporary New York fairy tale – Alejandro (played by Torres himself) – is not such a person, at least not when we meet him. His creative imagination nurtured by his artist mother (Catalina Saavedra) in El Salvador, he’s now a young immigrant on a work visa in the U.S., getting by in his daily life by making as few waves as possible while dreaming of being a toy designer for Hasbro. But when a minor flub gets him fired from the cryogenic company where he works, he inadvertently finds himself drawn into the never-peaceful orbit of the titular “problemista” herself: Elizabeth (Swinton), an outcast art-world maven and wife of a terminally ill eccentric painter (Wu Tang Clan founder RZA) that has frozen himself in hope of being revived when a cure is available to save his life. 

Tasked with tending to her not-quite-late husband’s legacy and estate, she is harried from her efforts to enforce her husband’s wishes via a campaign of unreasonable requests and non-negotiable demands, and sorely in need of someone to help manage the burden — and with his future in America now hanging by a thread, Alejandro takes on the challenge, hoping this terrifying woman whose path he has crossed can keep him from deportation until he can land the career opportunity he’s been waiting for.

It’s at once a familiar and an oddball conceit, a tale of toxic mentorship with shades of “The Devil Wears Prada” that weaves a strangely heartwarming sense of unexpected but perfectly matched kinship into the mix and takes us past tropes and cliché to discover a perspective that illuminates the extremes instead of reinforcing the bland status quo of our lives. While most audiences may not have experience within the elite cultural circle in which Swinton’s Elizabeth asserts her presence, the core essence of her persona is instantly recognizable to us all. And although Torres’s screenplay gets a lot of mileage – and indeed, the movie gets a lot of its appeal, thanks to Swinton’s masterful performance – out of parodying that “high-maintenance” image, it also takes us slyly past our easy judgments to reveal all the easily relatable human qualities behind the stereotype. By the time it’s over, we might still see her as a “monster,” but perhaps no more so than any of the rest of us. We might even, like Alejandro, start to see her seemingly insufferable approach to life as something a little less clueless and a lot more justifiable than we want to assume – and recognize that, even if it makes people cringe when they see her, it might sometimes be the only way to get by in a world bent on maintaining a veneer of calm banality. It might even be the only appropriate response to – and best rebellion against – the indifference of a system whose first priority is always the preservation of a placid status quo.

That, of course, is the joy of “Problemista,” a movie that successfully gets a load of intelligent laughs from the eccentricities of both its unorthodox lead characters – a non-specifically but unmistakably queer protagonist and a ferociously uncompromising “difficult woman” – yet somehow manages to turn them both into aspirational figures. It successfully pokes a savvy kind of fun at the rarified cultural niche in which it takes place – as well as at the not-so-subtly delusional constructs which govern the lives of anyone who fits within its boundaries – without diminishing or degrading its characters or making their individual pursuits feel foolish; it accomplishes this because, even in its unabashedly satirical milieu, it places the greatest emphasis on the humanity of its characters. Alejandro and Elizabeth, in almost any other film, would be supporting players – comic relief, perhaps – in a story about people whose lives were more comfortably mainstream; here, they take center stage, allowing us to laugh at their eccentricities but never letting us lose sight of the real human impulses behind them.

For that, we can thank the deeply committed performances of Swinton, an actress of legendary caliber whose background in underground and counter-cultural theater and film brings a considerable layer of stature to Torres’ freshman effort, and Torres himself, who comes across as a fully confident and seasoned performer capable of holding his own onscreen with someone of his co-star’s stature. RZA’s amusing but somehow sweet performance in flashbacks as Elizabeth’s husband also has a humanizing effect, and acclaimed Chilean actress Saavedra casts a luminous glow in her limited screen time that nevertheless seems like a keystone element of the film’s delicate balance of magical realism and absurdist comedy.

To be fair, defining “Problemista” within a label is a problematic undertaking from the start; neither comedy nor drama, fantasy nor surrealist ephemera, it combines all these elements to approach something more profound, perhaps, or at least more useful for audiences looking for a new perspective on the sometimes-soul-crushing sea of obstacles that seems to govern our daily lives. At any rate, far more important than any of these esoteric themes, it confronts – gently, if with considerable cynicism – the existential rattlesnake of navigating the immigration system of the US, straddling multiple agendas and managing to succeed with all of them.

Torres, whose stint on “SNL” led to a successful stand-up special and a gig as the creator and star of HBO’s critically acclaimed Spanish-language series “Los Espookys,” has managed an impressive debut as a filmmaker; it’s the kind of movie that hints at greater achievements to come, and we are eagerly on board to watch them unfold in years to come. No small feat for a first-time filmmaker, especially considering the number of ambitious sociocritical comedies that have tried and failed to pull off the same delicate balancing act – and even more especially because it’s also a lot of fun.

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