Movies
LGBTQ-inclusive noms reflect progress, but Oscar is still dragging his feet
Hope for continuing visibility in the Hollywood entertainment machine
In summing up LGBTQ inclusion among this yearās nominees for the Academy Awards, you canāt get much more accurate and succinct than this statement from GLAAD President and CEO Sarah Kate Ellis:
āThis yearās Oscar nominations for performances from queer actors including Ariana DeBose and Kristen Stewart, as well for powerful LGBTQ stories in films like āWest Side Story,ā āFlee,ā and āThe Mitchells vs. The Machines,ā are clear reminders of the opportunities that exist with audiences and critics when Hollywood invests in queer talent and tells diverse stories in bold and original ways. With several worthy LGBTQ stories, actors, and creators absent from this yearās list, the industry and Academy should prioritize investing in and recognizing creators and stories from LGBTQ and other marginalized communities that audiences both crave and connect with.ā
Ellis is on target with both observations. Oscarās slate of nominated films is peppered with queerness, though only a few place it front-and-center, and having two openly LGBTQ performers nominated within a single year is a record. Nevertheless, itās a notable fact that several high-profile out contenders didnāt make the cut (Lady Gaga for āHouse of Gucci,ā Tessa Thompson for āPassing,ā Abbi Jacobson for āThe Mitchells vs. the Machines,ā and Colman Domingo for āZolaā) in a year when the front-runner for Best Picture is widely considered to be āThe Power of the Dogā ā a film that explores the queer dynamic in a relationship between two men, both played by non-LGBTQ actors.
Some of the potential LGBTQ nominees were long-shots, of course (Jacobson, for example, would have been the first person ever nominated for a voice performance in an animated film), and the significance of āFleeā ā an animated docudrama about a queer Afghan refugee telling his story on the eve of his marriage ā receiving nods in three categories (Best Documentary Feature, Best International Feature, and Best Animated Feature) should not be understated. Given the high level of acclaim it has received, not to mention the momentum itās picked up in the āAwards Seasonā buzz, it stands as the best chance for an LGBTQ-focused film to pick up some gold on Oscar night.
That is, of course, unless you count āThe Power of the Dog,ā the yearās most-nominated film with nods in 12 categories. Director Jane Campion (now the first woman to earn more than one nomination for Best Director) weaves queerness throughout the fabric of her adaptation of Thomas Savageās novel ā the premise and plot both depend upon it ā but can it truly be called an LGBTQ film? Neither of its two central characters are clearly identified as queer, though itās perhaps obvious that Benedict Cumberbatchās hyper-masculine rancher has compartmentalized his queerness into a ritualized blend of hero worship and sexual fetish.
Thereās also the uncomfortable but unavoidable interplay of toxic tropes as the two characters come together to confront both the archetype of the he-man cowboy as idealized masculine image and the expectation of a sexual āmentorshipā between an older and younger gay man ā not to mention the inescapable connection to the old rules of the ācelluloid closet,ā in which one of the only acceptable roles for a gay character was that of (spoiler alert) cold-blooded murderer.
Yet the inclusion of these elements ā which might be seen as āproblematicā by some in the community ā is a deliberate choice intended for the precise purpose of turning them inside out and upside down, something Campionās movie achieves with subtle and chilling brilliance. Seen as a disavowal of these outdated assumptions, āDogā is very much a movie that rejects the oppressive worldviews of the past and strikes a blow for a more contemporary ā and less rigidly moralistic ā perception of LGBTQ+ identity.
The GLAAD statement makes no direct mention of āDog,ā though it is presumably included in the acknowledgment of LGBTQ content among the nominees. The advocacy organization is more concerned in the context of Oscar with the direct inclusion of queer talent, and rightly so. Nevertheless, itās worth recognizing that āDogā is a movie which could not have been made in a world where queerness was still forbidden on our screens, and its elevation to the top of the Awards race of 2021 is a victory for the community, whether it takes home the big prizes or not.
As to that, Campionās film seems sure to win in several categories, including Picture, Best Cinematography, and Best Actor (though some pundits have speculated an upset from Will Smith for āKing Richardā or Andrew Garfield for ātick, tickā¦ BOOM!ā). Cumberbatch, for his part, fully deserves a win ā even if it does make him the latest straight actor to snag an Oscar for playing gay. So, too, does Kodi Smith-McPhee, nominated for Supporting Actor, whose delicate interpretation of Cumberbatchās sensitive but inscrutable nephew implies queerness while remaining ambiguous.
Itās a category full of wild cards (including fellow āDogā star Jesse Plemons), but he could easily ride the movieās Oscar wave into a win. Supporting Actress nominee Kristin Dunst stands a strong chance at victory for her much-lauded performance as McPheeās beleaguered mother, but she would have to beat DeBoseās electric turn as Anita in Steven Spielbergās āWest Side Storyā ā and the odds seem in favor of DeBose to be of the few clear-cut winners at the ceremony, something that would also make her the first queer woman of color to win an Academy Award for performance.
āWest Side Storyā itself, which features a supporting queer character expanded and more clearly defined than in the source material, earned six additional nominations, including for Best Picture and for Spielbergās direction. Itās not likely to displace either āDogā of Campion from the top spot in those categories, but it could take home some of the less high-profile awards for which it has been tapped ā Best Production and Costume Design seem its best shots.
āThe Mitchells vs. the Machines,ā with its bisexual teenage heroine, is a dark horse for Best Animated Feature, but fellow nominee āFleeā could conceivably be carried by its buzz into taking the category over Disneyās āEncanto,ā widely viewed as the front-runner. The latter film also has an edge for Documentary Feature, and though International Feature seems destined for Ryusuke Hamaguchiās āDrive My Carā (which also snagged nods in the Picture and Director categories), itās a possible winner there, as well.
Finally, out actress Kristen Stewart, nominated for Leading Actress as Lady Diana in āSpencer,ā has a shot, but also some strong competition ā Nicole Kidman in āBeing the Ricardosā and Olivia Colman in āThe Lost Daughterā seem locked in tight contention for their performances, and Jessica Chastainās turn in āThe Eyes of Tammy Fayeā should not be counted out, either.
No matter which, or even if, any of these nominations convert to LGBTQ-friendly wins on presentation night, itās safe to say that Oscar 2021 gives us hope for continuing acceptance and visibility in the Hollywood entertainment machine.
Itās also safe to say thereās still plenty of room for improvement.
The Academy Awards are set to broadcast on ABC, Sunday, March 27. You can find a full list of the nominees at the Oscars website.
Movies
āHousekeeping for Beginnersā embraces true meaning of family
Another triumph from young filmmaker Goran Stolevski
Once upon a time in America, queer people sometimes adopted their lovers as their āchildrenā so that they could be legally bound together as family.
Thatās not a revelation, though some queer younglings may be shocked to learn this particular nugget of hidden history, nor is it a call to political awareness in an election year when millions are actively working to roll back our freedoms. We bring it up merely as a sort of context for the world that provides the setting in āHousekeeping for Beginners,ā the winner of the Queer Lion prize at 2023ās Venice Film Festival, which opened in limited U.S. theaters on April 5 and expanded for a wider release last weekend.
Written and directed by Goran Stolevski ā a Macedonian-born Australian filmmaker whose two previous films, āYou Wonāt Be Aloneā and āOf An Age,ā both released in 2022, each met with critical acclaim ā and submitted (unsuccessfully) as the official Oscar entry for International Feature from the Republic of North Macedonia, itās a movie about what it means to be āfamily,ā which touches on the political while placing its focus on the personal ā in other words, on lived experience rather than ideological argument ā and, in the process, drives home some very important existential warnings at a time when things could go either way.
Set in the North Macedonian capital of Skopje, it centers on social worker Dita (Anamaria Marinca), a middle-aged lesbian, whose house is a safe haven for a collection of outcasts. First and foremost is her girlfriend Suada (Alina Serban), a single mother of Romani heritage, but the āchosen familyā in the household also includes Suadaās daughters, teenaged Vanesa (Mia Mustafi) and precocious 5-year-old Mia (Dżada Selim); Ditaās long-term friend Toni (Vladimir Tintor), a middle-aged gay man who works night shifts at a mental hospital; Toniās new, much-younger boyfriend Ali (Samson Selim); and Elena (Sara Klimoska), an older and more worldly schoolmate of the other girls who serves as a makeshift big sister.
It is, unsurprisingly, a chaotic environment, a sea of revolving situations that largely goes on without Ditaās direct involvement, though she occasionally asserts more authority than she either has or cares to wield. That all changes, however, when Suada is diagnosed with aggressive pancreatic cancer, leading her to extract from her lover the promise that she will be mother to her children when sheās gone.
If you want a spoiler-free experience, you should stop reading now; further discussion of āHousekeeping for Beginnersā requires us to reveal that Dita is forced to make good on that promise, even though sheās never had the desire to be a mother, and itās not just a matter of making sure the kids get all their daily meals and show up for school on time. In North Macedonia, where same-sex relationships are not illegal but are neither granted the validation of lawful protections, the adoption of children requires a woman to have a husband, which means entering into a sham marriage with Toni ā who is not quite a 100% onboard, himself ā and listing him as the girlsā father. More difficult, perhaps, is gaining the trust of Suadaās two daughters, neither of whom is exactly receptive to the prospect of exchanging their real mother for a half-willing replacement. Itās this challenge that proves most daunting, triggering a crisis that will put every member of this cobbled-together family group to the test if they are to have any hope of hanging on to each other and making it work ā something to which Dita finds herself growing deeply committed, despite her initial reticence about taking on the role of default matriarch.
Shot in Stolevskiās accustomed milieu – an intimate, cinema veritĆ© style built on handheld camerawork and near-exclusive reliance on close-up framing to capture the awkward blend of comfort and claustrophobia that often accompanies life in a crowded household environment ā and leaving most of the expository cultural details, such as the impact of ethnic ācasteā and the complicated hierarchy of layers involved in negotiating a peaceful coexistence with ānormalā Macedonian society when your domestic and familial structures are anything but ānormalā, to be gleaned by context rather than direct explanation. It works, of course; thereās something universally recognizable about the difficulty of āblending inā that helps us bridge the gap even if we donāt quite understand all the fine points as well as we might if we, like Stolevski, had grown up having to deal with them directly.
Even so, there are times when a bit of distance might be missed by audiences in need of a wider scope; itās hard, after all, to get a palpable sense of space and location when most of what we see onscreen are the upper thirds of whichever cast members happen to be featured in each particular scene. But in case that sounds like a criticism, itās important to point out that this is part of the filmās magic spell – because by making its physical environment essentially synonymous with its emotional one, Stolevskiās movie delivers its human truth without the unnecessary distraction of learning the ins and outs of a foreign cultural dynamic. The things we need to grasp, we do, without question, even if we donāt quite understand the full context, and what we walk away with in the end is a universally recognizable sense of family, carved in stark relief among a group of people who find it among themselves despite the lack of blood ties or common history to bind them to each other. That makes āHousehold for Beginnersā an unequivocal triumph in one way, at least, because by driving home that hard-to-convey understanding, it manages to underscore the injustice and inhumanity of any world in which the validity of a family is subject to the judgment of cultural bias.
Thatās not to say that āHousekeepingā is an unrelenting downer of political messaging. On the contrary, it is lifted by a clear imperative to show the joys of being part of such a family; the humor, the snark, the bright spots that arise even in the darkest moments ā all these are amply and aptly portrayed, making sure that we never feel like we are being fed a doom-and-gloom scenario. Rather, weāre being reminded that itās the visceral happiness that comes from being connected with those we love that matters far more than the rules and judgments of outsiders, which makes the hoops Dita and company have to jump through feel all the more absurd.
Though Stolevski, an Aussie citizen unspooling a narrative based in his country of origin, might not have intended it as such, the message of his film strikes a particular chord in 2024 America. The hardships of Dita and her brood as they try to simply stay together are a clear and pointed warning not to take for granted the hard-won freedoms that we have.
Add to that a superb collection of performances (BAFTA-winner Marinca and first-time actor Selim are standouts among the many), and you have another triumph from a young filmmaker whose reputation only gets more stellar with each effort.
Movies
After 25 years, a forgotten queer classic reemerges in 4K glory
Screwball rom-com āI Think I Doā finds new appreciation
In 2024, with queer-themed entertainment available on demand via any number of streaming services, itās sometimes easy to forget that such content was once very hard to find.
It wasnāt all that long ago, really. Even in the post-Stonewall ā70s and ā80s, movies or shows ā especially those in the mainstream ā that dared to feature queer characters, much less tell their stories, were branded from the outset as ācontroversial.ā It has been a difficult, winding road to bring on-screen queer storytelling into the light of day ā despite the outrage and protest from bigots that, depressingly, still continues to rear its ugly head against any effort to normalize queer existence in the wider culture.
Thereās still a long way to go, of course, but itās important to acknowledge how far weāve come ā and to recognize the efforts of those who have fought against the tide to pave the way. After all, progress doesnāt happen in a vacuum, and if not for the queer artists who have hustled to bring their projects to fruition over the years, we would still be getting queer-coded characters as comedy relief or tragic victims from an industry bent on protecting its bottom line by playing to the middle, instead of the (mostly) authentic queer-friendly narratives that grace our screens today.
The list of such queer storytellers includes names that have become familiar over the years, pioneers of the āQueer New Waveā of the ā90s like Todd Haynes, Gus Van Sant, Gregg Araki, or Bruce LaBruce, whose work at various levels of the indie and āundergroundā queer cinema movement attracted enough attention ā and, inevitably, notoriety ā to make them known, at least by reputation, to most audiences within the community today.
But for every āPoisonā or āThe Living Endā or āHustler White,ā there are dozens of other not-so-well-remembered queer films from the era; mostly screened at LGBTQ film festivals like LAās Outfest or San Franciscoās Frameline, they might have experienced a flurry of interest and the occasional accolade, or even a brief commercial release on a handful of screens, before slipping away into fading memory. In the days before streaming, the options were limited for such titles; home video distribution was a costly proposition, especially when there was no guarantee of a built-in audience, so most of them disappeared into a kind of cinematic limbo ā from which, thankfully, they are beginning to be rediscovered.
Consider, for instance, āI Think I Do,ā the 1998 screwball romantic comedy by writer/director Brian Sloan that was screened last week ā in a newly restored 4K print undertaken by Strand Releasing ā in Brooklyn as the Closing Night Selection of NewFestās āQueering the Canonā series. Itās a film that features the late trans actor and activist Alexis Arquette in a starring, pre-transition role, as well as now-mature gay heartthrob Tuc Watkins and out queer actor Guillermo Diaz in supporting turns, but for over two decades has been considered as little more than a footnote in the filmographies of these and the other performers in its ensemble cast. It deserves to be seen as much more than that, and thanks to a resurgence of interest in the queer cinema renaissance from younger film buffs in the community, itās finally getting that chance.
Set among a circle of friends and classmates at Washington, D.C.ās George Washington University, itās a comedic ā yet heartfelt and nuanced ā story of love left unrequited and unresolved between two roommates, openly gay Bob (Arquette) and seemingly straight Brendan (Christian Maelen), whose relationship in college comes to an ugly and humiliating end at a Valentineās Day party before graduation. A few years later, the gang is reunited for the wedding of Carol (Luna Lauren VĆ©lez) and Matt (Jamie Harrold), who have been a couple since the old days. Bob, now a TV writer engaged to a handsome soap opera star (Watkins), is the āmaidā of honor, while old gal pals Beth (Maddie Corman) and Sarah (Marianne Hagan), show up to fill out the bridal party and pursue their own romantic interests. When another old friend, Eric (Diaz), shows up with Brendan unexpectedly in tow, it sparks a behind-the-scenes scenario for the events of the wedding, in which Bob is once again thrust into his old crushās orbit and confronted with lingering feelings that might put his current romance into question ā especially since the years between appear to have led Brendan to a new understanding about his own sexuality.
In many ways, itās a film with the unmistakable stamp of its time and provenance, a low-budget affair shot at least partly under borderline āguerilla filmmakingā conditions and marked by a certain ācollegiateā sensibility that results in more than a few instances of aggressively clever dialogue and a storytelling agenda that is perhaps a bit too heavily packed. Yet at the same time, these rough edges give it a raw, DIY quality that not only makes any perceived sloppiness forgivable, but provides a kind of āoutsiderā vibe that it wears like a badge of honor. Add to this a collection of likable performances ā including Arquette, in a winning turn that gets us easily invested in the story, and Maelen, whose DeNiro-ish looks and barely concealed sensitivity make him swoon-worthy while cementing the palpable chemistry between them ā and Sloanās 25-year-old blend of classic Hollywood rom-com and raunchy ā90s sex farce reveals itself to be a charming, wiser-than-expected piece of entertainment, with an admirable amount of compassion and empathy for even its most stereotypical characters – like Watkinsā soap star, a walking trope of vainglorious celebrity made more fully human than appearances would suggest by the actorās honest, emotionally intelligent performance ā that leaves no doubt its heart is in the right place.
Sloan, remarking about it today, confirms that his intention was always to make a movie that was more than just frothy fluff. āWhile the film seems like a glossy rom-com, I always intended an underlying message about the gay couple being seen as equals to the straight couple getting married,ā he says. ā And the movie is also set in Washington to underline the point.ā
He also feels a sense of gratitude for what he calls an āincreased interest from millennials and Gen Z in these [classic queer indie] films, many of which they are surprised to hear about from that time, especially the comedies.ā Indeed, it was a pair of clips from “his film”I Think I Do” featured on Queer Cinema Archive that āgarnered a lot of interest from their followers,ā and āhelped to convince my distributor to bring the film backā after being unavailable for almost 10 years.
Mostly, however, he says āI feel very lucky that I got to make this film at that time and be a part of that movement, which signaled a sea change in the way LGBTQ characters were portrayed on screen.ā
Now, thanks to Strandās new 4K restoration, which will be available for VOD streaming on Amazon and Apple starting April 19, his film is about to be accessible to perhaps a larger audience than ever before.
Hopefully, it will open the door for the reappearance of other iconic-but-obscure classics of its era and help make it possible for a whole new generation to discover them.
Movies
Trans filmmaker queers comic book genre with āPeopleās Jokerā
Alternative āBatmanā universe a medium for mythologized autobiography
It might come as a shock to some comic book fans, but the idea of super heroes and super villains has always been very queer. Think about it: the dramatic skin-tight costumes, the dual identities and secret lives, the inability to fit in or connect because you are distanced from the ānormalā world by your powers ā all the standard tropes that define this genre of pop culture myth-making are so rich with obviously queer-coded subtext that it seems ludicrous to think anyone could miss it.
This is not to claim that all superhero stories are really parables about being queer, but, if weāre being honest some of them feel more like it than others; an obvious example is āBatman,ā whose domestic life with a teenage boy as his āwardā and close companion has been raising eyebrows since 1940. The campy 1960s TV series did nothing to distance the character from such associations ā probably the opposite, in fact ā and Warner Brothersā popular ā80s-ā90s series of film adaptations solidified them even more by ending with gay filmmaker Joel Schumacherās much-maligned āBatman and Robin,ā starring George Clooney and Chris OāDonnell in costumes that highlighted their nipples, which is arguably still the queerest superhero movie ever made.
Or at least it was. That title might now have to be transferred to āThe Peopleās Joker,ā which ā as it emphatically and repeatedly reminds us ā is a parody in no way affiliated with DCās iconic āBatmanā franchise or any of its characters, even though writer, director and star Vera Drew begins it with a dedication to āMom and Joel Schumacher.ā Parody it may be, but that doesnāt keep it from also serving up lots of food for serious thought to chew on between the laughs.
Set in a sort of comics-inspired dystopian meta-America where unsanctioned comedy is illegal, itās the story of a young, closeted transgender comic (Drew) who leaves her small town home to travel to Gotham City and audition for āGCBā ā the official government-produced sketch comedy show. Unfortunately, sheās not a very good comic, and after a rocky start she decides to leave to form a new comedy troupe (labeled āanti-comedyā to skirt legality issues) along with penguin-ish new friend Oswald Cobblepot (Nathan Faustyn). They collect an assortment of misfit would-be comedians to join them, and after branding herself as āJoker the Harlequin,ā our protagonist starts to find her groove ā but it will take negotiating a relationship with trans ābad boyā Mr. J (Kane Distler), a confrontation with her self-absorbed and transphobic mother (Lynn Downey), and making a choice between playing by the rules or breaking them before she can fully transition into the militant comic activist she was always meant to be.
Told as a wildly whimsical, mixed media narrative that combines live action with a quirky CGI production design andĀ multiple styles of animation (with different animators for each sequence), āPeopleās Jokerā is by no means the kind of big-budget blockbuster we expect from a movie about a superhero ā or in this case, supervillain, though the topsy-turvy context of the story more or less reverses that distinction ā but it should be obvious from the synopsis above thatās not what Drew was going for, anyway. Instead, the Emmy-nominated former editor uses her loopy vision of an alternative āBatmanā universe as the medium for a kind of mythologized autobiography expressing her own real-life journey, both toward embracing her trans identity and forging a maverick career path in an industry that discourages nonconformity, while also spoofing the absurdities of modern culture. Subverting familiar tropes, yet skillfully weaving together multiple threads from the ārealā DC Universe sheās appropriated with the detailed savvy of a die-hard fangirl, itās an accomplishment likely to impress her fellow comic book fans ā even if they canāt quite get behind the gender politics or her presentation of Batman himself (an animated version voiced by Phil Braun) as a closeted gay right-wing demagogue and serial sexual abuser.
These elements, of course, are meant to be deliberately provocative. Drew, like her screen alter ego, is a confrontation comic at heart, bent on shaking up the dominant paradigm at every opportunity. Yet although she takes aim at the expected targets ā the patriarchy, toxic masculinity, corporate hypocrisy, etc. ā she is equally adept at scoring hits against things like draconian ideals of political correctness and weaponized ācancel cultureā, which are deployed with extreme prejudice from idealogues on both sides of the ideological divide. This means she might be risking the alienation of an audience which might otherwise be fully in her corner ā but it also provides the ring of unbiased personal truth that keeps the movie from sliding into propaganda and elevates it, like āBarbieā, to the level of absurdist allegory.
Because ultimately, of course, the point of āPeopleās Jokerā has little to do with the politics and social constructs it skewers along the way; at its core, itās about the real human things that resonate with all of us, regardless of gender, sexuality, ideology, or even political parties: the need to feel loved, to feel supported, and most of all, to be fully actualized. That means the real heart of the film beats in the central thread of its troubled connection between mother and daughter, superbly rendered in both Drew and Downeyās performances, and itās there that Joker is finally able to break free of her own self-imposed restrictions and simply ābeā who she is.
Other performances deserve mention, too, such as Faustynās weirdly lovable āPenguinā stand-in and Outsider multi-hyphenate artist David Leibe Hart as Raās al Ghul – a seminal āBatmanā villain here reimagined as a veteran comic that serves as a kind of Obi-Wan Kenobi figure in Jokerās quest. In the end, though, itās Drewās show from top to bottom, a showcase for not only her acting skills, which are enhanced by the obvious intelligence (including the emotional kind) she brings to the table, but her considerable talents as a writer, director, and editor.
For some viewers, admittedly, the low-budget vibe of this crowd-funded film might create an obstacle to appreciating the cleverness and artistic vision behind it, though Drew leans into the limitations to find remarkably creative ways to convey what she wants with the means she has at her disposal. Others, obviously, will have bigger problems with it than that. Indeed, the film, which debuted at the 2022 Toronto International Film Festival, was withdrawn from competition there and pulled from additional festival screenings after alleged corporate bullying (presumably from Warner Brothers, which owns the film rights to the Batman franchise) pressured Drew into holding it back. Clearly, concern over blowback from conservative fans ā who would likely never see the film anyway ā was enough to warrant strong arm techniques from nervous execs. Nevertheless, āThe Peopleās Jokerā made its first American appearance at LAās Outfest in 2023, and is now receiving a rollout theatrical release that started on April 5 in New York, and continues this week in Los Angeles, with Washington DC and other cities to follow on April 12 and beyond.
If youāre in one of the places where it plays, we say itās more than worth making the effort. If youāre not, never fear. A VOD/streaming release is sure to come soon.