Sex, Lies, and “Closer”: Lying to Survive as a Queer Kid, as Taught by Natalie Portman
Coming into one’s sexuality, Natalie Portman had taught me, goes hand in hand with learning how to deceive as a means of survival.
Attack of the Clones
Beautiful Girls The Professional. of Dirty Dancing: Havana Nights
A Streetcar Named Desire
Who’s Afraid of Virginia Woolf?
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.
Enter your email address to receive notifications for author Manuel Betancourt
Confirmation link sent to your email to add you to notification list for author Manuel Betancourt
More by this author
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.
More in this series
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 people tell me “I don’t look Colombian,” I’m reminded of how pop culture gets my home country of Colombia wrong—where we are, who we are, and what we can look like.
I gravitate towards AIDS stories because, behind their righteous anger and torturous despair, they lay out visions of couples and communities.