More in this series
Acknowledging Tragedy While Finding Love and Joy in AIDS Films
I gravitate towards AIDS stories because, behind their righteous anger and torturous despair, they lay out visions of couples and communities.
thirst, reading queerly, and
The Normal Heart. Angels in America. How to Survive a Plague. RENT. Tidy Endings. And the Band Played On. In the Gloaming. Common Threads: Stories from the Quilt.
Holding the ManBPM (Beats per Minute)
Holding the Man
Philadelphia, Angels in America,
BPM, PhiladelphiaAngelsThe Normal HeartRENT
RENT Angels in America
PhiladelphiaThe Normal Heart
The Great Believers,
Angels in America
The World Only Spins ForwardAngels in America
Manuel Betancourt is a film critic and a cultural reporter based in New York City. His academic work on queer film fandom has appeared in Genre and GLQ, while his work of cultural criticism has been featured in The Atlantic, Film Quarterly, Esquire, Pacific Standard, and the Los Angeles Review of Books, among others. He is a regular contributor to Remezcla where he covers Latin American cinema and U.S. Latino media culture, and Electric Literature, where he writes about book-to-film adaptations. He has a Ph.D. but doesn't like to brag about it.
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Ozon’s attention to an archly stylized femininity in ‘8 femmes’ spoke to my own idea of what my own gayness could and would be.
It’s easy to think—as Ray does in ‘The ’Burbs’—that you can know a lot about a person from what they value.
Boxers hide. Jockstraps flaunt. Briefs titillate by the very shape they contour and convey.
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Animation can teach a kid a lot about themselves and the world around them. Disney movies taught me about my queer desires.
There are two gay men in “My Best Friend’s Wedding.” There’s Rupert Everett, then there’s the gay man I wanted to be—Julia Roberts’ character, Julianne Potter.
When Jack drew Rose like one of his French girls, he didn’t just sketch her; he saw her. It’s a level of intimacy that doesn’t need desire—but that doesn’t make it any less erotic.