“Make Up” is the feature debut for English writer/director Claire Oakley. A horror/drama film about a teenage girl tangling with her own emotions and relationships in a Cornish caravan park as surreal occurrences start to untangle her sense of reality. The film starts very promisingly, as protagonist Ruth (played by Molly Windsor) arrives at the caravan park in the middle of the night. The film starts building a surreal atmosphere early, as many of the side characters speak in slightly odd, unnatural dialogue in a way that feels intentional. Wide shots and lateral tracks are frequently used to add to this unsettling air as Ruth starts to believe that her boyfriend Tom (Joseph Quinn) is cheating on her.
The person introducing “Two of Us” (aka “Deux”) to audiences at the Glasgow Film Festival made sure to note the film’s confident filmmaking from feature debut writer/director Filippo Meneghetti. This was an incredibly accurate assessment. The film’s extensive use of Spielbergian oners and dramatic push-ins is emblematic of a creator with full control of their toolbox of cinematic tricks without feeling the need to over-indulge or show-off. Meneghetti deftly uses restraint to create intrigue and suspense in this small, personal story. But key to making this film as engaging as it is are the lead performances of Barbara Sukowa and Martine Chevallier who perfectly play their roles as an elderly queer couple kept apart by tragic circumstance and the bigotry of those around them.
“1917” was one of the biggest hits of this year’s awards season. It has made almost $300 million at the box office and counting. The film won Best Drama at the Golden Globes, Outstanding British Film and Best Film at the BAFTAs and... well let’s just say I’m glad I waited until after the Oscars to write this article. Regardless, this WWI film wowed audiences with its teeth-grinding tension and “HOW DID THEY DO THAT?!” one-shot cinematography. But you know what would have made it better? If it were gayer. I’m probably going to have to justify that. Spoilers ahead. The core relationship of the film is between the two protagonists, Lance Corporals Blake and Schofield. Through their perilous mission across the war-torn fields of France, they display openness and intimacy rare from male leads in action films. The single-take aesthetic heavily emphasises their closeness, almost always placing them together in the frame. Their bantering dialogue makes them feel like they’ve been close friends for years. They need each other, they save each other.
Anne Rice’s debut novel, “Interview with the Vampire” was published in 1976 and was somewhat controversial at the time for its openly erotic depiction of the undead. Two years later, “Dracula” would open on Broadway with first Frank Langella and then Raul Julia as the Count with obvious sex appeal. The book would take nearly two decades to be adapted to the screen but by that time, Rice had paved the way for vampires to be portrayed with animal magnetism such that Bela Lugosi would never have gotten away with in the 1930’s. Brad Pitt plays Louis as a mournful sympathetic vampire, regretful of his lost humanity and the loss of human life he is directly responsible for. His desire to unburden his conscience sets up the interview of the film’s title as he tells his life story to Christian Slater. Director Neil Jordan deliberately shows Pitt as androgynous with long hair, perfect skin and full lips. It is no surprise that the vampire Lestat (Tom Cruise) desires him or that other vampires will want to possess him as well
“IT: Chapter Two” (2019) has been talked about a lot since its still fairly recent release, and the internet has already gone through multiple modes of discourse on its queer representation. The first consisted of people posting extremely necessary content warnings for the film’s opening scene, which features a violent homophobic hate crime. The second occurred when many people took to Twitter to mock a recent Out article which labeled the character of Pennywise “homophobic".