With his 1949 avant-garde short film, Puce Moment, Kenneth Anger is vomiting glamour into our face, objectifying objects, sexualizing what cannot, in a vacuum, be sexualized: silk, velvet, cotton, glitter -- and we cannot get enough of it.
Language and image never combine in Abrams' Live Oak, with Moss; they are distant lovers, if you will, as divided as Walt Whitman and Brian Selznick are as collaborators.
Michael Donkor's Housegirl, a PopMatters' pick, is a strong debut novel about traditional changes and personal awakenings.
Sebastián Lelio reflects on his first English language feature, Disobedience, and how art, the individual, and society benefits from one's rebellion against one's own worldview.
Mishima: A Life in Four Chapters is a singular portrait of an artist's life lived so fiercely as to have left an indelible mark on an alienated world seeking affirmation for its own existence.
Director Joel Edgerton's well-intentioned drama about gay conversion therapy fails to deliver any new insight or even a good cry.
The tragedy of conversion therapy is confronted in Boy Erased, a well-meaning but perfectly conventional message movie.
Actor-director Joel Edgerton details the sensitive process of making Boy Erased and how the film could act as a lifeline for families who have experienced gay conversion therapy.
Our work on this Earth, Rogers insists, is Tikkun Olam (repairing the world). So why does Morgan Neville shut down the possibility of queerness in his documentary?
By serving as a midwife to artists, the "Dean of the Harlem Renaissance" Alain Locke would help foster an art that would stand as a midwife to a better future.
Loo Hui Phang emphasizes the nature of image-making from the first panel: an upside landscape as viewed through the inverting lens of the protagonist's camera.
Julie Mahor's hand is deft in so many ways, producing a visually and emotionally complex tale of coming-of-age love uniquely grounded in the comics form.
Beach Rats captures the tumultuous divide between one's mind and feelings, as well as the duality of one's nature.
By picking up his subject after the most infamous event in Wilde's life, Frankel is able to rebuild the narrative of Wilde's post-prison life from the detritus of his public undoing.
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