The artificial connection between homosexuality and communism created the popular myth of evil and undetectable gay subversives living inside 1950s American society. Film both reflected and refracted the homophobia.
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.
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.
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?