Halfway Mark Pt 1: Gay Films of the Moment and Near-Future

by Nathaniel R

JOYLAND

This pronouncement is two weeks late for Pride Month but 2023 is shaping up to be a good year for queer films. Not that people have noticed, exactly. The first new challenge for audiences in the brave new world of cinematic distribution is actually knowing that any particular movie exists. The second is knowing where to find it once you do (distribution is so messy in the 21st century!). Between the streaming wars, teensy theatrical runs, and the still rarely discussed / under reported wilderness of "VOD" many titles slip by unnoticed. The artists who made them and the lucky audiences who discover them can only hope they pick up steam through word of mouth or with the passage of time. The best LGBTQ title of the year is Pakistan's 2022 Oscar submission Joyland (reviewed by Cláudio) which is currently in the gap between a theatrical run and various ways to screen it at home and you already heard me rave about last November. When you get a chance to see it you absolutely must. Another unmissable is the Taylor Mac documentary on HBO (reviewed by Glenn).

After the jump some gems you can currently rent or stream that were released theatrically already and some to look forward to...

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Evil Dead: The Original Trilogy Revisited

by Cláudio Alves

As tentpoles falter and prestige fare fails to perform, horror continues to prove a safe investment for Hollywood. You won't find me complaining about that last bit, for scary movies have long won my affection. And yet, while celebrating box office success, it's distasteful to meander in mercenary matters. Instead, let's consider a new sensation in Evil Dead Rises, the fifth film in the horror franchise Sam Raimi birthed at the dawn of the 80s. Indeed, while these deadite-infested movies have strayed away from detailing the adventures of Ash Williams – check out the TV series Ash vs. Evil Dead for more of that – the original trilogy continues to have a special place in fans' hearts.

So, join me as I revisit Raimi's first ventures into gory horror, horror comedy, and medieval fantasia…

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Antiviral @ 10: The Beginning of Brandon Cronenberg

by Cláudio Alves

It's been a decade since Brandon Cronenberg came into the scene, with Antiviral as his feature debut. That film was preceded by a couple of shorts, succeeded by various music videos, Possessor, and this year's Infinity Pool. Common themes reverberate through his oeuvre, linking him to his father's cinema. Like David, Brandon Cronenberg works within dimensions of horror, often considering transcendence through the body and the body transcended, altered, made a dream cum nightmare. Yet, despite similar interests, shared names, linked blood, father and son feel like unique auteurs, their connections superficial. One would expect the nepo baby to forever live in his patriarch's shadow, but maybe not…

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The haunting beauty of "Kwaidan"

by Cláudio Alves

This month, in the Criterion Channel, there's a spotlight on Kwaidan, the Masaki Kobayashi classic that became the first significant example of Japanese horror to reach international audiences. You can find critic Grady Hendrix exploring the 1964 anthology on the streaming service, but that's far from the only reason you should check it out. Kwaidan collects four ghost stories that, together, form cinematic poetry of ravishing beauty. No wonder Kobayashi's film has entranced The Film Experience for years. Dancin' Dan once wrote about Kwaidan for the Oscar Horrors series, Nathaniel and Juan Carlos discussed it in podcast form, and I highlighted its costuming for an idealized Oscar ballot. 

Still, it's never a wrong time to re-consider Kwaidan, to get lost anew in its visual splendor...

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In defense of Jamie Lee Curtis

by Cláudio Alves

Yes, I know that title is ridiculous. After all, nepo baby extraordinaire Jamie Lee Curtis just achieved the highest form of recognition in her industry, winning the Best Supporting Actress Academy Award after having already nabbed a SAG in the same category. Moreover, Everything Everywhere All At Once, the film she's been championing ever since it premiered at last year's SXSW, became a sweeping sensation, our latest Best Picture champion. And yet, if you love the actress or have some fondness for her performance, social media has proved a hostile environment. It started way before the Oscar nominations when the possibility of Curtis making the lineup to Stephanie Hsu's detriment angered multitudes…

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