The 28-minute film dives deep into the lives of five Queer Sikhs living in India. Produced with a budget of 2,000 USD, the money was raised via a crowdfunding campaign that met its goal within 10 days of its launch, said Sukhdeep Singh, the director of the film.
What is surprising is that male sexuality in the film is represented as frozen and obscene in contrast to the eroticism and intimacy of the two women. It's because the director shows sexuality as a tool of domination. The male gaze is shown as an unwelcome voyeurism and lacks an understanding of women.
Heteronormative culture doesn't want anything to do with characters like Carol or Elio, so society doesn't want them on screen for too long before a pair of tits stick up or a death scene shakes up the audience.
Fast forward to now, I have watched most seasons of Selling Sunset, after which I watched the first season of Housewives of Beverly Hills. Bear with me as I express surprise at the barrage of misogyny that they were. Confused as to why we were documenting and consuming these specific people’s lives on-screen, I looked up the early cast of Housewives of Beverly Hills.
The movies seems to show how emotionally disconnected he has been from the act of sex, that the release is more important to him than how, where or with whom he gets it.
Superhero movies have traditionally catered to a male audience with an emphasis on superbly choreographed action sequences with much flare and destruction. ‘Wonder Woman 1984’ turns that on its head. In one of the first action sequences of the movie, we get an “I hate guns” from Diana, as she gracefully and comically stops a robbery at the mall.
The film unfolds over the city in the darkness of night, which, as we know, is where we can see stray shapes and shadows in the corners. It may be the end of a workday, or it may be that those whom Chippa meets belong to the dregs of an indifferent society, people who are so invisible that they cannot help but allow Chippa such free rein.
Umbartha is one such classic that follows the journey of a woman, Sulabha Mahajan (played by Smita Patil), who defies her conservative husband and mother-in-law’s wishes and sets out to build her own identity.
There is a great conceit at the heart of the film directed by Pete Docter and Kemp Powers, namely the concept of the soul and its transcending worlds.
The description of the short film mentions ‘daring’ and ‘Islamic state’ - apart from the general sexual awakening arc of the story - and these two points become important takeaways for the audience after they have seen the film.
Out, which was created and intended for international release, is as aesthetically appealing as it is heartwarming. There is nostalgia in its style of animation, with every frame making one feel as if they are looking at a canvas painting gifted years ago by an old lover.
Queer cinema has been treated outlandish, never mainstream. But it changed in 2020. From miniseries to documentaries to movies, and mostly due to the COVID-19 pandemic, most of great streaming content was released on the OTT platforms.
The Indian queer is sure to find semblances of vulnerability arising out societal oppression and disgust toward queer people, making it watch-worthy.
As someone who went to a catholic school and grew up behind a toy store, I am constantly searching for ways to experience the nostalgia and warmth of Christmas without surrendering to the binary of red and green.
The film manages to show a balanced view of how queer Muslim individuals navigate through the intersections of their identities.
I personally found the storyline predictable and some of the plot overdone however, there definitely is a strong emotional pull that can capture anyone’s heart.
Here are some of Gaysi’s picks to keep you entertained this week. Happy streaming!
I hope and pray that its audiences are only watching it for mindless escapism rather than admiration.
The central myth of the goddess and her lover is portrayed in a hand-drawn style reminiscent of “The Princess Kaguya”. At this song-and-art juncture, The Pearl Studio and Netflix produced film begins to seem promising.
The film falls under the genre of horror - comedy, although it fails to elicit any response that is suitable to this label. Infuriatingly, most of the film’s comedy and horror hinges upon the supposed dissonance of watching a cis man perform the mannerisms societally deemed “feminine”.