![]() And it landed several Golden Globe nominations as well as critics' prizes, and it was the first film about queer female love that got some attention in the Oscars' Best Picture category ( Carol was snubbed in that category in 2015). The latest - and most accessible - film from Greek auteur Yorgos Lanthimos ( The Lobster, The Killing of a Sacred Deer) is a wild, queer romp through the 18th-century court of the sickly, often childlike Queen Anne of England. ![]() If Colette's unapologetic queerness weren't enough, transgender actors Rebecca Root and Jake Graf play a cisgender couple who flirt with her in a parlor scene. The film chronicles Colette's rise to fame as she leaves behind her country upbringing to become the toast of Paris along with her husband, Willy (Dominic West), who spurs her to chronicle her life for his literary factory where only his moniker appears on everything that's published.īracing in its frank depiction of sexual freedom, the film shows Colette and Willy beginning an open relationship in which they end up bedding the same American socialite before Colette falls for the trans-masculine Missy (Denise Gough). In the film directed by Wash Westmoreland, who is gay, Keira Knightley embodies the pansexual bohemian feminist who stepped out of her husband's shadow to become the most famous female French author in the world. We need each other."Ĭolette, about the trailblazing writer Sidonie-Gabrielle Colette, who engaged in relationships with men, women, and trans-masculine-identifying people circa the Belle Epoque, is queer to its core. "I think the way that we did the sex scene - we're not naked. But they also work and they are also titillating to me," Sevigny said. And you see them in passing, these moments of almost touching and those kinds of period romance cliches. The movie is so restrained and so buttoned-up. It felt like she deserved that love and an escape from her horrid existence." "That's where we wanted to build the relationship with Bridget for her - that Bridget was finally an outlet. She had a lot to say and no one to say it to," Sevigny said. "I felt like a lot of the world outside of Fall River was changing, but in that Calvinist community, she was really smart. She had a rich inner life and she didn't have a lot of outlets," Sevigny told The Advocate about Lizzie, who's depicted as being an avid reader and a patron of the arts. ![]() The movie also fits right in with the #MeToo era, with Lizzie and her maid/love interest/co-conspirator Bridget (Kristen Stewart) literally bashing toxic masculinity in the face. A film that shares a lineage with the queer true crime-based films of the '90s like Heavenly Creatures and Sister My Sister, Lizzie is a fresh take on the "murderous lesbians'" trope. Although there were several iterations along the way, the final version of the film about the ax killer from the tiny town of Fall River, Mass., couldn't have come at a timelier moment. Part revenge tale and part redemption song, Lizzie took years for indie darling Chloe Sevigny ( Boys Don't Cry, Big Love, Love and Friendship) and out writer Bryce Kass to shepherd to the screen. Since it was released, Carol, which begins during the days before Christmas and includes Carol and Therese consummating their desire during a road trip on New Year's Eve, has become a bit of a holiday tradition, especially among queer women. If that weren't enough, out Emmy winner Sarah Paulson plays Carol's best friend and former lover, Abby. In fact, the novel and the film's hopeful ending offers a possible happily-ever-after for Carol and Therese.īeyond that, its artistry is undeniable, with a team that includes New Queer Cinema darling Haynes at the helm, screenwriter Phyllis Nagy (who is a lesbian and who was friends with Highsmith), costumer Sandy Powell (who also costumed The Favourite), composer Carter Burwell, and cinematographer Ed Lachmann ( Far From Heaven). Still, it was the first Oscar-worthy love story about a female couple in which a man does not steal focus and that doesn't end in disaster or death for the women. The film, starring Cate Blanchett as the titular Carol, a soon-to-be-divorced New Jersey socialite and mother who falls for Rooney Mara's Therese, the shopgirl who is, as Carol notes, "flung out of space," earned six Oscar nominations, even if it was snubbed in the Best Picture category. More than half a century after Patricia Highsmith's groundbreaking 1952 novel The Price of Salt/Carol was released, Todd Haynes's big-screen adaptation Carol became revolutionary in its own way.
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