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This fall, we will see him dive into his first theatrically distributed feature since Eat Pray Love in 2010.
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The man practically owns the TV side of the medium, but he’s about to be back in cinemas. (Release date: TBD)Īt this point, it seems as if gay writer-producer-director Ryan Murphy simply speaks his projects into being without any trouble. The textural riches of fire, movement, music, and color-on top of the ever-twisting narrative-will leave you stunned. Larraín is terrific at slowly unfolding labyrinthian mystery and Ema is an exquisite example.
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Do yourself a favor and don’t look up the plot details. The film follows a prodigious experimental bisexual dancer ( Mariana Di Girolamo) and her husband/choreographer ( Gael García Bernal) in a Chilean mountain town as they navigate a tumultuous familial situation. By its public US release date (expected sometime in the summer), it’s his first of the 2020s and an auspicious kickoff for any director. If you count its Fall premiere in Venice, Ema marks his sixth masterwork of the 2010s.
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While still relatively unknown by US audiences, Chilean writer-producer-director Pablo Larraín has spent the decade proving nearly everything he touches turns to gold. Here’s to hoping the success of Joker - in the context of extended universes - will lead to more original comic book films. Whether you loved it or hated it (I fell somewhere in the middle), Joker was an anomaly as far as comic book conventions are concerned, and DC was the studio willing to take the risk on it. Of late, there’s a slightly renewed hope in DC’s efforts, which began as the bottom of the barrel sludge. (Release date: February 7th)īirds of Prey: And the Fantabulous Emancipation of One Harley QuinnĪfter an egregious first attempt to immortalize the bisexual antihero Harley Quinn in Suicide Squad, Margot Robbie is back with her own solo film in the DC Extended Universe. Plus, the lead role is played by a real (non-actor) dancer. It premiered in the Director’s Fortnight sidebar at Cannes in May to critical praise, has had immense success in Sweden since, and has reignited political turmoil over queer identity in Georgia. Swedish-Georgian writer-director Levan Akin returns with his third feature, a politically charged coming-of-age drama about a dancer in Tbilisi, Georgia, who slowly comes to terms with what it means to be gay within a traditional culture of dance in a staunchly conservative country. For the sake of avoiding potential major studio publicity stunts and conjecture on filmmakers’ purported sexual orientation, all of the films on this list were chosen because they have confirmed queer characters and/or plotlines central to the film. But there’s plenty to look forward to outside of that. So, there’s a lot of ground to be gained when it comes to widespread embrace and moving past falsely based corporatization of queerness. Of course, conglomerates like Disney (which assumedly still have too many outdated traditionalists in power to take significant steps forward) are trying to get the best of both worlds by touting a background kiss between two women in Star Wars: The Rise of Skywalker as if they made the next fucking Brokeback Mountain. More gay, trans, lesbian, and other queer projects are being bought at film festivals, greenlit by major studios, distributed to wider audiences, and celebrated by greater masses. As a more conservative, traditional world learns to embrace a beautiful reality in which anyone can love anyone, Hollywood seems to be revving its engines in anticipation (and by Hollywood, I mean Ryan Murphy, but we’ll get to that later). Portrait of a Lady on Fire, Wild Nights with Emily, Pain and Glory, Booksmart, and End of the Century are just a handful that prove the point.
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Queer film had quite the showing in 2019. Follow along as we explore all the things that have us mildly hopeful in the new year.