Pride Month Doc Corner: Keith Haring, Curve magazine and Intersex

Doc Corner is celebrating Pride Month where every week we focus on documentaries with queer themes. For the final edition (albeit on the 1st of July, sshhh), we are putting a brief spotlight on a few films that I have watched recently that should hopefully their way to audience’s over the coming months through queer film festivals (virtual or otherwise) and streaming.

by Glenn Dunks

Just by pure virtue of his being a central figure in New York City’s modern art scene of the 1980s, Keith Haring’s name comes up often in the films about the era. There are probably a dozen movies about him either as the central figure, or one of a whole scene that is easy to rhapsodize nostalgic about.

Perhaps after Ben Anthony’s Keith Haring: Street Art Boy, which is screening as a part of Sheffield Doc/Fest and streaming soon, there won’t be a need for that...

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The New Classics: It Follows

By Michael Cusumano

Scene: Explaining The Rules
Every movie with a supernatural horror needs the 'rules' scene. The one where we lay out for the hero exactly what it is they’re up against and why they are in deep, deep trouble. These scenes require the film to strike a tricky balance. You want enough info so we can get a firm grasp on the dynamic, without getting bogged down in minutiae. Share the tape in seven days or die. Got it! Too much and you end up like the heroes of Inception, shouting explanations at each other well into the film’s second hour. Not enough and the threat ends up too vague to be scary. Pennywise the Clown can do anything at any time, and kill kids sometimes but not others based on nothing. Whatever. 

The best modern example of this scene, the one that hits the balance exactly right, is the post-coital explanation scene from David Robert Mitchell’s It Follows (2015)...

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The Furniture: Funny Face, France, Fashion and Failure

"The Furniture" is our series on Production Design by Daniel Walber. Click on the images to see them in magnified detail.

Funny Face (1957) is not really a complicated movie, visually or otherwise. Its production design doesn’t express inner turmoil or repressive social structures, nor does it take the characters on any sort of elaborate journey. And in some scenes it’s downright boring, director Stanley Donen essentially stepping back to allow Fred Astaire and Audrey Hepburn room to dance.

But production design doesn’t have to be profound to be good, or even Oscar-worthy. And while I wouldn’t have voted for Funny Face for the Academy Awards, I do think it’s worth a look. Besides, its design does sort of have a message: that the opposite of fashion is books, and that any attempt to combine the two will lead to utter chaos. Is it serious? No, of course not, but it manages to be fun and chic at the same time.

It all starts with a gorgeous opening sequence designed by legendary photographer Richard Avedon, who also served as “Special Visual Consultant”...

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Welcome to the Academy

by Nathaniel R

The Academy has once again revealed the names of the people they've invited to join their ranks and vote on the Oscars. As we've seen in recent years they've invited over 800 people to join (819 to be exact) with an empbasis on growing their ranks with people of color and women. The initial goal in 2016 was to double the number of women and people of color within their ranks by 2020. They've done that and more (in fact the number of members of color has tripled since 2016.)

The most interesting stat this year (because it was less expected) is that 49% of all new invitees this year come from outside the US. That's kind of shocking for such an American institution. It's amusing to note that last season's Best Picture winner Parasite accounts for 14 of those new non-US members...

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Meeting Streisand: A Miniature Comic Tragedy in 3 Acts

Thank you once more to Tom Mizer, one half of the songwriting team Mizer & Moore (The Marvelous Mrs Maisel), who has blessed us with funny, insightful guest blogs from the set, his childhood, and writing rooms all day! - Nathaniel

by Tom Mizer

I was raised on Barbra Streisand. My mother adored her. She owned The Way We Were and Yentl on VHS. She vacuumed to the “Guilty” album. Every birthday, she joyously opened Bab’s anual release like a Dickens’ orphan getting her yearly pair of shoes. And I was, step by step, initiated into the catechism of Our Lady of Funny Girl. (“Tom, THIS is 'Color Me Barbra'. Let us bow our heads in silence before we begin.”) 

So when I met her...Barbra, not my mother...it was brief but epic. And ridiculous. And wonderful. And bittersweet. Ladies and Gentlemen, may I present, “Meeting Streisand: A Miniature Comic Tragedy in 3 Acts.”

PROLOGUE: Tom is performing in a small Off-Broadway show. (His acting career will consist of playing 15 until he is 30 and appearing in musicals that end in “Live!”) In order to make more money, he is spending days off from the play as an extra in film and TV. The agency calls. They need students for a classroom scene in a film called The Mirror Has Two Faces. Directed by Barbara Streisand...

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