Queer TIFF: "Bulbul Can Sing" and "Giant Little Ones"

by Chris Feil

Crafted with a Malickian grace, though with its feet planted more firmly on the ground, Rima Das’ Bulbul Can Sing is a coming of age tale of deep feeling. Set in rural India, many of its notes will seem initially familiar: the innocence of first loves, rampant patriarchal demands, the unity of friendship broken by consequences. What makes this film sink deeper is its refusal to reduce its punishment for the sake of comforting, motivational sentiment. Respecting the humanity of its teenagers, its uplift comes from a human spirit impossible to snuff out completely.

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Queer TIFF: "Climax"

by Chris Feil

The first third of Climax achieves the most gobsmacking of feats: it convinces you, and wholeheartedly, that provocateur Gaspar Noé might actually have gotten his shit together. After languorous attempts to shock like Love, overly lethargic flashes of innovation like Enter the Void, and burdensome levels of grimness like Irreversible, his new film emerges as something both audacious and (most importantly) succinct. But jokes on us because this is, after all, a Gaspar Noé experience. It also happens to be the best one yet.

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Queer TIFF: "The Death and Life of John F. Donovan"

by Chris Feil

The party of Xavier Dolan is petering out. Or at least for his crowd of defenders, the noble few who have been willing to see past histrionics for the queer pop opera of his cinema. But for all of the detractive claims of the young director consistently falling down his own rabbit holes, it stands to ask what people want from the cinema if not directors drunk on their own Kool-Aid.

And yet his newest effort, The Death and Life of John F. Donovan, is the toughest to defend. Despite some moments when the film really hits its stride, Dolan is mostly merely strident, crafting a trolling work that dares you to not call it as petulant as it is. His films have been called nakedly autobiographical or trite, and this film turns those whiffing dismissals into text. Is one person’s trash the next person’s honesty, in all its cringeworthiness and misguided perceptions? Does what is genuine and true about the thing we deem unworthy still have merit despite our perceptions of its limitations? These are fascinating questions that this film can’t quite elevate or answer, and the results are frequently embarrassing.

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Doc Corner: Susanne Bartsch and Antonio Lopez Take the Center Stage

By Glenn Dunks

Almost as ubiquitous as biographies of famous musicians (several of those coming in the next month) are documentaries about party icons of queer history. We’ve already had the exploits of The Fabulous Allan Carr and Scotty and the Secret History of Hollywood in 2018 s, and now we can add two more titles: Susanne Bartsch: On Top and Antonio Lopez 1970: Sex Fashion & Disco.

Mother of the club kids, the nicknamed “Queen of the Night” and party planner extraordinaire, Susanne Bartsch is probably best known for her role in putting together the Love Ball in 1989. The AIDS fundraiser with people like Madonna in attendance (no doubt a formative moment in the creation of her single “Vogue”) was iconic in ways that likely gets forgotten about without films like this one to thrust it in their face and remind them. Footage from the ball is pivotal to On Top to contextualize her notoriety as more than just a famous-for-being-famous type of social queen, the likes of which flourished in the time after Warhol in New York City...

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Queer TIFF: "Can You Ever Forgive Me?"

by Chris Feil

Marielle Heller’s Can You Ever Forgive Me? is the rarest of comedies, as lovely as it is scabrous, and able to craft a film cohering as many dualities and tonal contradictions in its construction as its protagonist. The film stars Melissa McCarthy as the shamed Lee Israel, once noted biographer and journalist whose late career stumbles found her forging letters of noted dead writers and famous personalities.

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