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Written as part of the Queer Film Blog-a-thon hosted by Queering the Apparatus]
When did the worldview of the cinematic homosexual get its blue skies? There will always be films that mark the beginning of an era.
Birth of a Nation,
Breathless,
Star Wars,
The Maltese Falcon,
sex lies and videotape - these films will forever be known as the stepping stones of their respective genre or movement in film. Most would attribute Todd Haynes’
Poison, which won the Grand Jury Prize at Sundance in 1991, as being the birth of the New Queer Cinema era. Though the movement likely died at the end of the 90s, it took a while for the signs to appear. Yeah, there was desexualized
Will & Grace and hyper-sexualized
Queer as Folk on television by 2000, but the first signs of NQC’s death came to me in the form of a little movie called
Eating Out.
What exactly happened between Gregg Araki’s
Nowhere and Q. Allan Brocka’s
Eating Out? For starters, Araki “switched teams” near the end of the 90s, dating actress Kathleen Robertson (Lucifer from
Nowhere), casting her as the lead in his nominally heterosexual
Splendor, and giving his fans the first real happy ending of his career (some might argue the case for
Three Bewildered People in the Night, but show me five people who’ve actually seen that film). Gus Van Sant directed the Oscar-winning
Good Will Hunting and followed it with a shot-for-shot remake of Hitchcock’s
Psycho. Todd Haynes also got the attention of the Academy with his ode to Douglas Sirk,
Far from Heaven. And
Swoon director Tom Kalin didn’t make another feature until this year with
Savage Grace, fifteen years later. The forefathers of NQC changed their stripes, packed their bags, and headed elsewhere. Enter
Eating Out. Where was the gay youth of American to turn to without James Duval sulking and contemplating the meaning of love and existence? He wasn’t there anymore. Times had changed, schools started gay-straight alliances, and gayness, in whatever form, was a major part of the average American’s television sets. Perhaps it wasn’t the director’s intention, but
Eating Out rose to the occasion, filling the long-empty shoes of River Phoenix or Duval or, even, Bruce LaBruce, and with
Eating Out, what we got was the beginning of the sunny era of queer cinema populated by exercises in bad taste disguised as romances where chiseled bodies took the place of shaggy hair, tattoos, and your favorite Siouxsie and the Banshees T-shirt.
Eating Out’s only relationship to anything worthy in queer cinema history comes through filtration.
Eating Out is more closely the spawn of
American Pie than
My Own Private Idaho, and through
American Pie, the connection to John Waters is made. Even with Waters, the linkage is distant. With
Pink Flamingos and
Female Trouble, Waters provided skewed, ironic visions of a happy ending, whether it be Divine being honored as the filthiest person alive or her crowning achievement in the electric chair. What becomes of
Eating Out is a sex farce of gross-out proportions, teamed with naked hunks and a pink ribbon of a happy ending. Instead of the boy of our hero’s dreams turning into a giant bug , the flaming homo gets that dreamboat, ripped from the pages of an Abercrombie & Fitch summer catalog.
Though I’m pretty sure it didn’t gross over $200,000 at the US box office,
Eating Out triumphed in the DVD sales, particularly from TLA Video, spawning a sequel (with the fitting and poetic subtitle
Sloppy Seconds), and signaling the death of an era of film. In the film’s defense, it probably never set out to change anything, other than a bunch of aging West Hollywood fags’ underwear, and it hardly stands as the worst of the lot that followed. For the bottom of the barrel, why don’t you try Todd Stephens’
Another Gay Movie, which takes the thematic relationship between
Eating Out and
American Pie to the highest level? [I would recommend you check out my friend
Bradford Nordeen’s
condemnation of the film to get a better idea] And yet,
Eating Out proved that there was a market for its brand of shallowness in gays who could tell you the first, last, and middle name of all the hosts of
Queer Eye for the Straight Guy but couldn’t name a single film directed by Derek Jarman.
As Bradford said everything I could have wanted to about
Another Gay Movie, I’ll spit my venom toward Everett Lewis instead. Lewis threw himself onto the NQC scene in 1996 with
Skin & Bone, a seedy depiction of how the mean streets of LA claimed the hearts of three street hustlers. The film was dark and distressing, though notably overshadowed by Bruce LaBruce’s finer, and more controversial,
Hustler White. Six years later, Lewis made his next film,
Luster, and oh, how the world had changed.
Luster was a film that could have been made by your pretentious class artfag, who’d watched
The Doom Generation way too many times without ever absorbing anything beyond the surface, and without the finances to supply a Cocteau Twins or Nine Inch Nails soundtrack. In fact, the characters in
Luster exist as some of the more reprehensible Araki figures as depicted by someone who merely stole the preliminary character sketches. In quick summation, Araki treated his characters with both boundless admiration and a harshly critical eye, condemning them for the same reasons he loved them. His depiction of the shallowness of youthful desires and loneliness was so accurate that most of his detractors ignorantly place the word “vapid” to describe the films themselves. In
Luster, a slutty blue-haired record store clerk just can’t find the right man in Los Angeles, climaxing in a final scene where he strips himself naked in order to “give himself” fully to the elusive, desired object of affection. Earnestness met its new best friend in that scene, with Lewis clumsily turning his happy ending into more jerk-off material than emotional substance.
His clumsiness and ineptness as filmmaker came full circle, however, with 2005’s
FAQs. In
FAQs, a clean-cut, good-looking twentysomething escapes an attempted rape on a porno set and falls into the arms of a black drag queen, who’s there to save the day. As he did with Araki in
Luster, Lewis takes his surface-level understanding of queer cinema history and butchers it, placing the implied notions of other, better films into the uncomfortable foreground of nauseous preachiness. In films like Michael Stock’s woefully underseen
Prince in Hell, New Queer Cinema introduced the reinvention of the family structure, grouping together the abandoned lost souls in a radical “fuck you” to the Republican ideal of family life. With
FAQs, this becomes the focus of the film, with lessons of superficial tolerance on the side. I can hardly bring myself to criticize the sub-Pia Zadora style of acting in
FAQs as there’s so much else wrong within, but the piss-poor acting from just about everyone in the cast truly illuminates the cardboard nature of
FAQs. I’ve been more profoundly moved by bumper stickers. Did I forget to mention that one of the lessons the sage drag queen passes on to her “children” is to love their bodies and spend at least half an hour naked per day? Lewis never shyed away from an excuse for male frontal nudity, particularly from “actors” with less than 5% body fat. Is he trying to tell us that loving our bodies is a lot easier to do when we look like models? Unintentionally, that’s what he got across.
Alternatives still exist. With
The Raspberry Reich, a hilarious political porno, Bruce LaBruce never threw away his integrity, even as his fetishist eye became more and more prominent in later films like
Skin Gang. Araki met my forgiveness for
Splendor with
Mysterious Skin, and with the financial gain and freedom he received from
Good Will Hunting, Van Sant blossomed as an artist. With such hatred directed at the films of Q. Allan Brocka (his
Eating Out follow-up
Boy Culture was just as horrendously ill-approached and saturated with a manufactured happiness) and Everett Lewis, you might suspect me an insufferable cynic, yet it’s not just filmmakers of highly questionable talent that have painted their characters’ skies the deepest of blue.
Mysterious Skin,
The Raspberry Reich, and Van Sant’s “Le Marais” segment of
Paris je t’aime all place their subjects outside of the darkness. And still, the placement of these characters out of the darkness the filmmakers had so beautifully depicted in their earlier films still so vastly contrasts the reprehensible films of which I’ve already spoken. Unlike the tidiness and finite nature of
Eating Out and others, the ends of
Mysterious Skin,
The Raspberry Reich, and “Le Marais” glimmer with hope in opposition to dubious glee. Each elevate themselves from the story-centered nature and show their hope with its murkiness still lingering and its closure open-ended. Perhaps the sun is indeed coming out for the once-angst-ridden gay youth of cinema… let’s just hope it’s captured by someone who knows how to make a film.
Some early prizes at the 63rd annual Cannes Film Festival were given out today, in the Un Certain Regard sidebar (which was presided over by Claire Denis), as well as the FIPRESCI (Fédération Internationale de la Presse Cinématographique) awards, the Grand Prix of the Semaine de la Critique, the Art Cinema Award and Short Film Prizes of the Quinzaine des Réalisateurs... et plus.
FIPRESCI Awards
Queer Palm: Kaboom, d. Gregg Araki, USA/France
As expected, IFC Films snatched up the most films this year. Araki's Kaboom, Xavier Dolan's Heartbeats [Les amours imaginaires], Bertrand Tavernier's The Princess of Montpensier [La princesse de Montpensier], Jorge Michel Grau's We Are What We Are [Somos lo que hay] and Abbas Kiarostami's Certified Copy [Copie conforme] have all been picked up by the studio since the start of the festival. Prior to that, they had already struck a deal for Olivier Assayas' Carlos, along with The Sundance Channel (they're owned by the same company); The Sundance Channel will air the 333-minute-long version later this year, followed by a theatrical release from IFC of a shorter, three-hour-long cut.
The other US distributor that typically returns from Cannes with several films added to their roster, Sony Pictures Classics, has been more conservative than usual in their purchases thusfar (possibly due to the reportedly weak line-up this year), taking only Xavier Beauvois' Of Gods and Men [Des hommes et des dieux] and Mike Leigh's Another Year. They had already secured Woody Allen's You Will Meet a Tall Dark Stranger and Stephen Frears' Tamara Drewe, both playing out of competition. The only other US purchase at the festival so far came from Magnolia's genre arm, Magnet Releasing, who picked up Quentin Dupieux's horror/comedy Rubber. Rubber, which screened during the Semaine de la Critique, stars Roxane Mesquida and Stephen Spinella (Milk, Love! Valour! Compassion!). The official closing ceremony of the 63rd Cannes Film Festival will begin in just a few hours.
