A Slightly Queer Take on "The Last Jedi"

This was originally published in Nathaniel's intermittent column at Towleroad.

There’s a bit of a macro and micro thing happening at the movies. I’m not talking about Disney’s new merchandising bonanza pairing those miniature “porgs” (think CGI puffins) with towering furry Chewbacca. No we speak of the wide release and limited release divide. Star Wars: The Last Jedi has been filling houses at over 4000 theaters and is obliterating the competition (already number #3 of the year in just 10 days) while a bunch of Oscar contenders are playing, not so quietly, in limited release gigs in their pursuit of golden statues. We’ll talk about more of those again soon but first [cue yellow text crawl over space] Episode VIII: The Last Jedi

We now return to The Resistance (aka the proudly defiant “Rebel Scum”) who are even easier to relate to know in December 2017 when it feels like the world will be ending any day with each new disastrous move from our own evil empire. (Sigh) If they can just harness the light side of the force, break through that one gerrymandered code, save that one cornered group of people, fetch Luke Skywalker, they might live to see another day...

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Into the Link-Verse

• Dim the House Lights a conversation about those Sondheim auditions in Lady Bird
• /Film why is Big Little Lies still competing as "Limited Series" when it has a second season order. The controversy is starting to bubble up
• Cartoon Brew I didn't even know that there was ANOTHER new awards show but come to think of it there's always another new one, isn't there? We now have the European Animation Awards and they gave their top prize to Loving Vincent. This is not to be confused with the European Film Awards which also gave Loving Vincent Best Animated Feature
• Cartoon Brew on the key points of that giant Disney/Fox deal. It's scary people. Now basically only 4 American-owned entertainment companies have control over America’s cultural identity. 

• Forbes on the teaser for Into the Spider-Verse with Miles Morales finally making it to screen...
• Indie Wire talks to the great actress Lesley Manville about Phantom Thread and Hollywood for women over 40
• The Wrap ack. I totally forgot to link to this last week. In an unprecedented move The Academy added 'Standards of Conduct' to membership details after the explosion of sexual misconduct news this past month
• Coming Soon the first poster and teaser for New Mutants
• Out January 25th is when RuPaul's Drag Race returns
• Vogue Philip Seymour Hoffman's partner Mimi pens an essay with Adam Green about living with an addict and the actor's final sad year.

List-Mania
• EW a timeline of Nicole Kidman's most iconic 2017 moments
• After Ellen a list of the best lesbian or bi movies of the year
• GQ Top ten books of the year and each author chosen gets to recommend a book, too. Fun angle! Do you have a library card? You might need one after this.
• Variety Owen Gleiberman and Peter DeBruge's top ten lists
• EW best and worst tv shows of the year
• Out most iconic looks of 2017. It's heavy on music video ladies for some reason but there's some fun surprises like "Allison Janney with a parrot on her shoulder" from I, Tonya
• CBC an A-Z guide to the year in queer: God's Own Country, Melina Matsoukas, and much more
• THR top ten movies of the year from Todd McCarthy and staff. Call Me By Your Name all over the place.

Blueprints: "Call Me by Your Name"

Wrapping up Call Me by Your Name week at The Film Experience, so Jorge takes a look at its screenplay to talk one of the biggest and most successful changes made from the novel to the screen. It’s peachy.

Perhaps the most challenging aspect about adapting a book into a movie is converting the literary language into something visual; show with images what in the page is being told with words. This is especially hard if the novel takes place within a single character’s mind and perception, like “Call Me by Your Name” does with Elio.

One of the easier solutions (sometimes merited, others not so much) is translating the thoughts that the character has on the book into voice-over. It’s a simple, straight-forward way to effectively convey ideas and feelings.

Call Me by Your Name, the film, has been lauded (among many other things) for avoiding this go-to trope, and instead using action and visual cues to convey Elio’s quiet longing for Oliver, and the intimacy and slow simmer of their romance. However, it wasn’t always like this...

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Coco, CMBYN, and the Specificity of Feeling Seen at the Movies

by Jorge Molina

Award season means trying to watch as many movies as possible in the shortest amount of time to feel included in the zeitgeist (well, in our zeitgeist here, at least; movies from all across the board that, apart from wanting to be in the awards conversation, often have little in common.)

Recently I watched two movies that, at first glance, couldn’t be more different. On one hand there’s Coco, Pixar’s newest entry about a Mexican boy wandering into the Land of the Dead. And on the other, there’s Call Me by Your Name, the much-discussed festival favorite that follows the romance between a teenager and an older man in sun-drenched Italy. On the surface, these two films don’t share much yet they offered me a very similar cinematic experience.

Both made me feel seen (yes, in italics). They reflected parts of my identity that I rarely get to see reflected on screen. How did they do that? By being as specific as possible...

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Call Me With Kindness

by Jason Adams

Call Me By Your Name is turning out to be the sort of success none of us saw coming sixteen months ago when it was first announced that the director of I Am Love was tackling a little gay love story. It just broke the 2017 record for per theater average over the weekend, and its reviews have been unanimously stellar. It won Best Feature at the Gothams Monday night, it topped the Independent Spirit nominations, and it’s expected to stick around racking up such prizes all awards season long.

And yet there’s been one complaint that’s nagged at the movie from a determined bunch of folks (including the film’s own writer, legend James Ivory) since it first screened at Sundance in January – a supposed shyness about nudity and gay sex. Ivory told Variety it’s a “pity” there's no full-frontal nudity in the film, while The Guardian called the movie “coy” and Slate called it out for a “lack of explicit sex.” One shot in particular has rankled these folks the most – a seemingly old-fashioned pan out the window just as the characters finally approach their erotic consummation.

The film’s director Luca Guadagnino, who probably had to look up the word “coy” in the dictionary the first time it was lobbed at him for this, is nonplussed by the reaction – he told Vulture:

“It’s really something I don’t understand. It’s as if you said there are not enough shots of Shanghai. I don’t understand why there has to be Shanghai in this movie.”

I’m inclined to agree with him. Not only because I found the film sexy as hell, erotic in languorous, voyeuristic ways that movies don’t really approach anymore. Its sense of tactility, for sweat and fabric and skin, and its often-prurient stares – up the legs of swimming trunks, for example - are a welcome shock to the system that makes the forbidden seem commonplace, easy...

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