Throughout history we’ve seen this trend of queer coding in all types of visual media. From indie French films to mainstream Hollywood films, queer coded characters are a common trend. Even in the popular Cartoon Network series, The Powerpuff Girls, we see a queer coded character, HIM.
The film is problematic with its very premise of making a ghost out of a trans person played through a cis person and the image and representation that is portrayed through this.
What started as a mere joke turned into one of the most genuine and inspiring representations of Latinx LGBTQ+ people on TV, paving the way for shows like One Day at a Time and Brooklyn Nine Nine.
The film begins several interesting strands of thought/critique without ever fully exploring them or seeing them through. It’s well intentioned but unclear, packing in too much without adequately exploring or explaining anything.
Karen and Barry Mason ran a gay pornographic bookstore, which was perhaps one of the largest and the only one of its kind in the 80s and 90s in the US. Soon, it also became the largest distributors of gay magazines and DVDs, until, as they said “the digital took over.”
The film is an homage to desire and the sensuous nature of love. Although the spoken poem is about the journey of love making, with its highs and lows, the choice of not showing something inherently and explicitly sexual is a very clever one.
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”.