The first time I saw two women have sex in a movie was in Blue is the Warmest Colour (2013) – I was a curious teenager and I specifically went looking for the now infamous six-minute scene after I found out about it in my very trustworthy Delhi Times, which framed it as “the talk of the town” at Cannes.
Here are 16 such ‘oh’ moments we compiled from your responses through a Gaysi Q and A on Instagram!
‘Boxed’ challenges the gender binary myth, profiles intersections within the trans community and also talks about their vehement opposition toward the Trans Bill of 2019. We spoke to directors Sameeksha …
Five out of six filmmakers were women. The odd one out, and first in the line up was 6:23 am by Geoffrey Breton (please note that the ‘Boys Shorts’ film category didn’t have a single female director, which is: not surprising).
A critique of something doesn’t imply that the thing in question is complete garbage (although it sometimes is), but that there are things the piece does wrong that it could do better, which it won’t do better unless one points it out and holds it to a higher standard.
Here is a list of guidelines for creating Gay cis-gendered male characters in visual media as well characters that I feel embody these guidelines well.
Moothon tries to work around a lot of areas from the politics of underworld and crime to gender and queerness, but it does none of them entirely. It falls into the trap of being a Masala film trying to be an arthouse morality drama.
For a community that struggles to be recognised as valid by external actors, more often that not, queer relationships feel the pressure to be portrayed as perfect, in order to increase that claim for validity.
predictably building up to a steamy lovemaking scene,
marked by the male gaze
and then there's the inseparability
The magic realism of ‘My brother is a Mermaid’ and the monochrome colouring of ‘Mall’ show us what it is like to be a child in a prejudiced world- filled with gender roles and teachings that are not tailored to our individual identities.
Lua, Rai and Camis prepare for a night out in Sao Paulo. The preparation for a group night out is written with exquisite accuracy. Right from the day-long hype in the group chat, to picking out and explaining your choice of booze before the party, and finally getting there only to risk it all when that one song starts to play.
Nagarkirtan is a story about two characters, Puti, a trans-woman stuck in a man’s body living in a ghetto for hijras in Kolkata with her Gurumaa and her chosen family, and Madhu, a cis-gender man who is a flutist with a kirtan group and a part-time delivery boy from the rural heartlands of Bengal.
What’s interesting and different about this film is that it is the story of a South Asian transwoman, which is very hard to come across in the mainstream Hollywood’s predominantly white representation of the LGBTQ+ community.
Plenty has been said about the references the film makes, its cinematography and production design and it's wonderful actors, and I’m not disputing any of these things. My contention remains with the content of the film and the claims it, or others, have made that it might be “feminist” or cover several “gender issues”.
As an adult who has often desired a different childhood, shows such She Ra and the Princesses of Power feels both, like tackling a messy landscape with no answers as well as dipping a toe into a kinder, better past. It does not shy away from complex characters, violence and its implications, and really does so without the moralism or innocence of commonplace children’s shows (better known as family TV). While at the same time, the art and the storytelling impart a sense of ease, assuring us of the possibility of a resolution.
Honestly, I am not a big fan of horror films and avoid watching them but Bulbbul is not just a horror film. It is a movie filled with suspense, thrill, …
The title of the documentary is evoked at one point by writer and actress Jen Richards, “I kind of hate the idea of disclosure, in the sense that it presupposes there is something to disclose.” I’m still trying to wrap my head around this and many other things said in the documentary. Having struggled with coming out and the idea of stealth, having often thought, “at what point do I need to tell them I’m trans?”, her statement brings up many feelings and emotions for me, as I attempt to process the idea of a world where my transness is absolutely nobody else’s business.
I grew up with an all-consuming love for Bollywood movies. They supplied the canvas for my visions and the soundtrack to my life’s cadences. To go to the theatre to watch a movie was to touch magic. And nowhere was that magic more apparent than in the quintessential Bollywood romance.
The way you were there with Johnny, sometimes loudly, sometimes silently was a lesson to me. The way you taught Johnny to be responsible towards his family was like seeing an imprisoned bud confined by emotionless rituals getting bloomed in an impeccable sunny morning.
Sukhdeep’s understanding of his religion and his life as an openly queer creator drove him to seek out others like him, to share their stories and talk about their struggles that they have faced and the fights they have won.