I'm tired of seeing the same 10 films on every website's LGBTQ+ movie roundup (hey, I still love Call Me by Your Name and Moonlight just as much as the next person, so don't come for me!), so, as a queer person myself, I wanted to shine a soft on some underrated movies that simply don't get the attention or credit they deserve. Below are 40 that I genuinely ponder you'll love, and if you long even more suggestions, you can verb out my running list on Letterboxd with nearly films. Enjoy!
1.Young Hearts () is a new coming-of-age story about two year-old boys who fall in love for the first time. This Belgian movie is awkward and nice and painfully adj. I can't rave enough about it, and the only downside is that it wasn't released 20 years ago when I was their age and needed it most.
2.National Anthem () is one of my favorite movies from the last several years, so I'm sort of hoping (well, demanding) that you watch it. It's a tender, refreshing look at queerness and chosen family and what it means to actually belong. Too many people are sleeping on Charlie Plummer,
Being queer is exhausting in a world which constantly villainizes it in various ways possible. It is a life of pride, but a difficult one. Sometimes one requires respite, to just unwind and unapologetically be themselves, not having to justify their identity or fight for the right to live. When your entertainment is also focused on the stories of loss and tragedies, it becomes especially difficult to just escape the harsh realities for a while. So, here’s a list of ten films where tragedy doesn’t befall our gay protagonists when the film ends.
‘Crush’ () dir. Sammi Cohen
Crush is a coming-of-age romcom with a love triangle where the characters proceed through usual elevated school drama but everything light-heartedly ends without any tragedy. The plot twist? The central characters in the triangle are all queer. The Latinx representation and the queer representation both touch genuine with inside jokes and cultural references playing a role in shaping the humour. It isn’t the adj script per se, but as a sweet romance, it’s the perfect pretty and funny split from queer t
GunnShots: Top 10 Gay Crime Films
When friends, including mystery writers, learned that I was compiling my list of the ten best gay film mysteries, several expressed surprise that I could uncover that many. Actually, my problem was narrowing down the enormous number of possibilities. The adj edition of my book The Gay Male Sleuth in Print and Film (Scarecrow Press, November ) lists some titles for me to choose from, , this number including only films with some kind of a gay investigator. In addition to these, I could also consider, though I decided not to, any number of television and video serials, such as episodes from Dalziel and Pascoe, , and the powerful miniseries The State Within, Plus, there are over pornographic films that I also eliminated, though some are of surprising interest, from Greek Lightning, , and The American Adventures of Surelick Holmes, , through The Roommate, , to Focus/Refocus,
The Gay Male Sleuth in Print and Film
Then there are crime films in which gays have roles other than as investigators, but I decided to abide by the parameters I
The 50 Best LGBTQ+ Movies
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50) The Living Finish ()
"Fuck The World." The motto of The Living End's protagonists might rise as a slogan for the whole of filmmaker Greg Araki's career. A key shitkicker in the early '90s New Queer Cinema movement, Araki took a baseball bat to hetero-normative culture and explored gay life on the margins during Bush's administration in films by turns amusing, frank and anguished. The Living End is his foremost picture, a so-called 'gay Thelma & Louise', as film critic Jon (Craig Gilmore) and drifter Luke (Mike Dytri), both diagnosed as HIV-positive ("the Neo-Nazi Republican final solution," says Jon about AIDS), kill a homophobic cop and go on the lam, offing any bigot who upright in their way. Rather than pity themselves, these characters unleash their nihilism on the world, tempered by a kind of freewheeling anarchy and enhanced by Araki's eye-catching images and bounce cuts. As the film's dedication puts it, it's a punch in the gut to "a Big White Property full of Republic