Queer critics on their fav queer films

by Nathaniel R

Pedro Almodóvar and Antonio Banderas on the set of "Law of Desire"

I didn't intend to point you to yet another "best LGBTQ films" list since we've been to that well twice with an overview of online lists and then my own personal list for Pride month. Nevertheless you'll surely want to check out this article at Paste Magazine called "50+ Queer Writers, 50+ Queer Films". Our friend Kyle Turner polled dozens of critics who identify as LGBTQ asking them to share a short thought about a cinematic favourite. We were only allowed one film, so I went with Law of Desire. We were also encouraged to think broadly about what "queer" meant so a lot of the choices you'll read are atypical rather than full on G-A-Y. Head to the Paste link above to read the whole exciting thing but after the jump I'm sharing three excerpts I particularly loved, two of them from trans critics since they don't get mentioned often...

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Linkgame

• IndieWire Avengers Endgame, which is still in wide release (985 theaters) at this writing will be "rereleased" on Friday. LOL. That just means it's adding more theaters again and this time it will have a deleted scene. It's fitting that the special poster for it is Thanos' fist since they're still trying to pummel Avatar's #1 status. 
• Variety on Wes Studi's landmark Honorary Oscar

After the jump news on Bond 25, The Irishman, a new take on Flash Gordon, animation awards, and a movie you probably forgot all about (I did!) finally getting released years after people wrote it off...

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Pride Month Doc Corner: Four restored queer classics in re-release!

by Glenn Dunks

The Film Experience and Doc Corner is celebrating Pride Month with a focus on documentaries that tackle LGBTIQ themes. In this final edition we're looking at four classic documentaries that have now been restored and are back in theaters (in select cities), waiting to be (re-)discovered: The Queen (1968), A Bigger Splash (1973), Before Stonewall (1984), and Paris is Burning (1990).

We will begin with the earliest and move forward through time. I was lucky enough to see The Queen on the big screen at a repertory screening in New York several years ago... 

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"The Prom" gets a starry cast for its film version.

by Nathaniel R

Two girlfriends in the midwest just want to go to their prom in "The Prom"

The Prom, running through August 11th at Broadway's Longacre Theatre, has defied expectations more than once in its short life. That starts with the plot synopsis which reads like a lecturing social justice message play (Broadway stars fight against discrimination to get a young lesbian to her prom when her school balks at the idea) but is in reality a sweet often hilarious comedy which has more targets than just homophobes in its sights. The musical began previews last October on Broadway and while it wasn't expected to be a big hit (given the sad state of Broadway where branding is all important - it came with no bankable stars, no jukebox score, wasn't based on a movie) it managed to stay open for months, snag high profile Tony nominations, and secure both touring and movie adaptation deals. (It is also a total delight, as Dan told us in his review which we co-sign.)

As you've undoubtedly heard, Netflix snapped it up some time ago. Originally we thought it was going to be a straight to streaming situation, given what Netflix is planning for the new Boys in the Band (with the all-gay Broadway cast reprising their roles for the camera), but it turns out they have an Oscar run in mind. And with that a starrier cast and some degree of a theatrical release in 2020 (so we'll have at least two musicals in the mix that year given Spielberg's West Side Story remake).

But are The Prom's days of defying expectations over?

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Soundtracking: Bob & Carol & Ted & Alice

by Chris Feil

Perfect movie endings are hard to come by. And I don’t mean a great sticking of the landing or simply ending on a high note - I mean a perfect ending. But of the ones that quickly come to mind, music feels like an essential component to the magic. Gloria (and her Bell counterpart) dancing her way into a resilient future, 45 Years slowly crescendoing to sudden romantic collapse, morbid opulence and ego to bring All That Jazz to meet its maker.

Paul Mazursky’s Bob & Carol & Ted & Alice belongs in that very special class, closing its satire by ascending the audience into a higher plane of communal experience. The film is already sublime, but its coda stands apart.

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