Arquivos da categoria: GLBT

24 Frames: Direito de Amar (A Single Man, Tom Ford, 2009)

“AFTER many a summer dies the swan.’ ” George rolls the words off his tongue with such hammy harmonics, such shameless relish, that this sounds like a parody of W. B. Yeats reciting. (He comes down on “dies” with a great thump to compensate for the “And” which Aldous Huxley has chopped off from theContinuar lendo “24 Frames: Direito de Amar (A Single Man, Tom Ford, 2009)”

24 Frames: Sebastiane (Derek Jarman/Paul Humfress, 1976)

Ou feliz dia de São Sebastião. Losing his religion: Saint Sebastian as contemporary gay martyr ‘My dear, I’ve done some pieces which will delight you… They’re a new departure, newish anyway, and rather religious and full of feeling. One’s a kind of sacra coversazione between Saint Sebastian and John the Baptist. The young man whoContinuar lendo “24 Frames: Sebastiane (Derek Jarman/Paul Humfress, 1976)”

24 Frames: Pink Narcissus (James Bidgood, 1971)

What were some specific influences on the film?
Well, it’s always about MGM musicals and all that kind of stuff. And a movie like The Red Shoes, which was at the time such a phenomenon. God, that picture! They tried to make it into a musical, but it bombed, Jule Styne wrote the music, and they tried it, because it’s really such a terribly corny story … and it is so fabulous…. It’s about a girl that’s in a ballet that they do called “The Red Shoes” [with Russian accent], the Russian guy, the director of the ballet “The Red Shoes,” and it’s about a girl who puts on these magic red shoes and then dances to death … cause she can’t take them off. And that’s pretty much … what the movie is about…. She ends up dying in the end, but they still give the ballet but [whispers] with just the shoes!… [gasps] So then he comes out and cries, oh, it’s so fabulous…. But the color! There had never been a movie with color like that. They did such wonderful things, it was like gelatin floating down, like gelatin, oh, like floating down! It was incredible! I don’t know that there is even a decent [print]. I’m sure they let it go to hell, you know, nobody cared about anything like that, nobody thought it was art until it was too late.

James Bidgood, 2006

24 Frames: Damned If You Don’t (Su Friedrich, 1987)

As “the narrative form that takes desire as its subject”, melodrama offers a more logical site than science fiction for cinematic investigations of the connections and among sex, gender, and desire. Damned If You Don’t, Su Friedrich’s makeover (and more) of Black Narcissus, successfully adopts this strategy, highlighting how much Black Narcissus and melodrama in general are predicated on the assumption that all desire is heterosexual. Snipping up, then reconstructing Powell and Pressburger’s original tragedy of unrequited (white) heterosexual love, madness, and death, Friedrich instead proposes a narrative with a happy ending for lesbians: for once the (Latina) girl, not the boy, gets the (white) girl, and no one dies or goes insane. By the end of Damned If You Don’t, lesbianism is no longer a sickly copy of a healthy heterosexual original.

A Tempestade (The Tempest, 1979)

The only British feature director whose work is in the first rank – Jarman sobre Michael Powell Michael Powell passou mais de vinte anos de sua vida correndo atrás da sua tão sonhada adaptação de The Tempest, do início dos anos 50 até meados dos 70, quando quase chegou às vias de fato com JamesContinuar lendo “A Tempestade (The Tempest, 1979)”

Homosexuality and the Italian Spaghetti Western

Homosexuality and the Italian Spaghetti Western by Jenna Bond Sergio Leone’s The Good, The Bad and The Ugly (1966) Damiano Damiani’s A Bullet for the General (1966) Giulio Questi’s Django Kill…If You Live, Shoot! (1967) Nota: A respeito do filme do Questi não tem nem o que discutir porque é abertamente gay e apesar deContinuar lendo “Homosexuality and the Italian Spaghetti Western”

Delírio de Amor (Ken Russell’s Tchaikovsky and The Music Lovers, 1970)

Odeio a sociedade e não conheço nada nela que não me aborreça. Só a música de Tchaikovsky me lembra de que a vida pode ser bela e ter algum significado. É a biografia de um compositor, é Ken Russell, tem momento beirando a lisergia mas não é Lizstomania, aqui não há nenhum integrante do WhoContinuar lendo “Delírio de Amor (Ken Russell’s Tchaikovsky and The Music Lovers, 1970)”

Veneno (Poison, 1991) de Todd Haynes (e um poquito de I’m Not There)

Todd Haynes e Jean Genet se merecem e por isso o primeiro teve a sensatez de adaptar a obra do último em 1991 com o seu fantástico Poison, nenhuma obra em específico, mas está tudo lá: Querelle, Nossa Senhora das Flores, O milagre da Rosa, Journal du Voleur e até o único filme que GenetContinuar lendo “Veneno (Poison, 1991) de Todd Haynes (e um poquito de I’m Not There)”

The L Word

Finalmente lançaram The L Word em DVD no Brasil e finalmente pude assistir e me esbaldar. Ainda acho que a série foi feita para o deleite dos fetichistas de plantão com seu lesbianismo de boutique e visual à lá Aaron Spelling, mas aparências à parte, é um grande e inteligente seriado dramático, principalmente por tratarContinuar lendo “The L Word”

Da série musas: Natalie Barney

“Não posso dar-me a quem não me sabe prender.” Natalie Clifford Barney tinha uns 20 e tantos anos quando deixou a América na virada do século para instalar-se definitivamente em Paris. Se Washington D.C. era muito provinciana para abrigar uma jovem herdeira que pregava o amor livre, a Cidade-Luz parecia ser o paraíso. Natalie talvezContinuar lendo “Da série musas: Natalie Barney”

Presente de Natal antecipado: 6 curtas de Guy Maddin

The Heart Of The World (2000) My Dad Is 100 Years Old (2005) Sissy Boy Slap Party (1995) Odilon Redon Or The Eye Like A Strange Balloon Mounts Toward Infinity (1995) Sombra Dolorosa (2004) Trip to the Orphanage (2004) Considero o canadense Guy Maddin um dos melhores e mais interessantes cineastas em atividade hoje, masContinuar lendo “Presente de Natal antecipado: 6 curtas de Guy Maddin”