This violence through language establishes a paradigm that persists throughout the film in which female expression, female control over their anatomy/body and others’ is aggressively and oppressively impugned upon and violated by male domination. Mary’s passion and talent — and thus selfhood — exists imperiled and impeached by the overtures of men.
The film captures the self-deconstructions, the collisions, the rebuilding, and the acceptances of women who live with and in spite of brokenness. It functions as a kind of thesis for resilience, and a specific female-driven resilience, unafraid of battle wounds, that often is reserved only for men.
Stephanie emerges as a poised, perspicacious, and resilient female lead. She is a wonderfully surprising alternative from most of the panoply of horror heroines who are tortured, fight, and scream their way through the terrifying films of the 80s. … Stephanie embodies what each of the archetypally male characters in the film fails to, and in doing so transcends the clutches of gender expectations in the film…
…To have a relationship like Tara and Denise’s was such a glorious prize. Moreover, in a time where femininity is so ensnared in the constant rhetoric surrounding the sizing of women’s bodies, and fixating on labels and valorizing or castigating a language of weight and body image that completely reduces feminine identity, to have two strong and two queer women feature prominently in a way that refuses to submit to those standards and dialogues is such a boon in so many regards.
What is most remarkable and perhaps most subversively compelling about both ‘Making a Murderer’ and ‘Fantastic Lies,’ and about the intentions and directorial choices of their respective creators, is that neither documentary endeavor chronicles the sagas of particularly defensible — or even, to some, at all likable — men.
The potency of ‘Carol’ struck me. I found myself hopelessly enraptured by the film’s meticulously flawless and at times excruciatingly realistic depiction of the ineffability that typifies so much of the queer experience. … The film pinpoints and satiates that pulsating, unspeakable longing that I (and I know countless others) have felt too many times.
LGBTQI Week: Stranger in a Queer Land: How ‘But I’m a Cheerleader’ and Susan Sontag Defined My Trembling Identity
This is a guest review by Eva Phillips. It might come off as a bit absurd, even an effrontery to some, to suggest that a film in which RuPaul must resist the titillation of a faux-fellatio on a pitchfork and bigotry is gleefully bellowed in the hate mantra “Silly faggots, dicks are for chicks!” is […]