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There are broad American comedies ( The Birdcage), artful Korean crime dramas ( The Handmaiden), groundbreaking indies ( Tangerine), and landmark documentaries ( Paris Is Burning). Our list of the 200 Best LGBTQ+ Movies of All Time stretches back 90 years to the pioneering German film, Mädchen in Uniform, which was subsequently banned by the Nazis, and crosses multiple continents, cultures, and genres.
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In 2020, Pedro Almadóvar’s Pain and Glory would make a dent on the awards circuit, as would Celine Sciamma’s romance Portrait Of A Lady On Fire, one of the best-reviewed movies of recent years. Meanwhile, Love, Simon made history in 2018 as the first mainstream, wide-release teenage rom-com to focus on a gay character (a spin-off TV series, Love, Victor, enters its second season on Hulu this year). At the 2019 Oscars, Olivia Colman was named Best Actress for playing the lesbian queen Anne in The Favourite, beating out Can You Ever Forgive Me?‘s Melissa McCarthy, who played lesbian writer Lee Israel.
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In 2016, Carol earned six Oscar nominations, and just a year later, for the first time in history, Moonlight became the first LGBTQ+-themed movie to win Best Picture. thinks such films won’t reach mass audiences, the industry’s whiteness problem will never be fixed.It’s been a big few years for LGBTQ films. While that’s evidence of Barry Jenkins’ artistry and ingenuity, it’s also indicative of a larger problem: As long as limited resources are directed toward black films, as long as Hollywood.
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Moonlight was the lowest-budget film to ever win the Oscar for Best Picture.
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Filmmakers can only create more works, however, if they have the financial resources and industry support to do so. There are a plethora of films centered on the lives of black people who love and fuck people of the same sex, but we absolutely deserve more.
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And the web series No Shade (2015), is a tear-dripping comedy about black LGBT life in New York from creative and romantic partners Sean Anthony and Terry Torrington. Patrik Ian Polks’ Noah’s Arc: Jumping the Broom (2008), The Skinny (2012) and Blackbird (2014) offer contemporary takes on black gay love and friendships, while Darius Clark Monroe’s short “Slow” (2011) addresses the intersectionality of disability, queerness, and black love. And even if the film industry and public refuse to offer praise, the work of these filmmakers is no less brave and necessary.īlack filmmakers have always known this to be true and have sought to “create dangerously,” as Haitian-American storyteller Edwidge Danticat encourages, despite the ways the American filmmaking industry has long resisted stories centered on blackness and black LGBT experiences. Black filmmakers whose works visualize the worlds and lived experiences of black people-sometimes through characters who identify as LGBT-on the big screen or the Internet are overdue for public praise. Moonlight is but one example of the type of beautiful and transformative work black filmmakers have always created, and not just this year. It is also a reminder black men who fall in love with other black men, like the two main characters in Moonlight, are not necessarily best identified as “gay.” Yes, the film depicts two black boys-becoming-men discovering their love, but their expressions of intimacy are no queerer, no more profoundly liberating, than their blackness.
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It is an example of what is possible when black filmmakers specifically create art focused not on the Hollywood gaze, but on the worlds from which black people come. Moonlight’s well-deserved success is cause for collective celebration.