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Under the Christmas Tree (2021)
To Vera-Ellen, To Lesbians, To Christmas...And To Elise Bauman's Bangs
Growing up, the only queer-themed 'Christmas' movie I ever knew was "Rent"; and I think that speaks volumes. It's refreshing to see all these LGBTQ holiday films rolling in as the years roll by...but it's even more refreshing to see "Under the Christmas Tree" in the list, a queer holiday romcom minus the family drama, the toxicity, the mean-spirited humor, the obligatory Grinch and - ahem "accidental" outings.
"Under the Christmas Tree" is a delight to watch; I loved its simplicity, its wholesomeness, the cheeriness and the fact that it probably produced more sap than all of the trees combined (that's how you guys, make a holiday romcom). It's a film I'm definitely going recommend families to watch over Christmas breakfast and revisit again, and again.
Also, can anyone show me the directions to Camden?
T-Bird at ako (1982)
"Problematic. Catches fire but ultimately fizzles out..."
"T-Bird at Ako" ( lit. "T-Bird and Me") is dated and problematic. And should not, under any circumstances, be screened during Pride month or any month for that matter. It's neither classic nor culturally significant.
Sexism and homophobia is the last thing-or rather-not be a thing you'd expect from a film supposedly written by an 'openly gay' woman. Sylvia (Aunor) is depicted as a predatory lesbian, as is Maxie (Kahn). And all throughout the length of this film blatant colorism is recurrent, one even catches an anti-Semitic sentiment. And the cherry on top: you get the ultimate straightwashing that makes you wonder: what was the point of this whole thing?
"T-Bird" catches fire in its first half but ultimately fizzles out. Best to stay away from this one. It's embarrassing.
A Quiet Passion (2016)
Jennifer Ehle and Jodhi May shine in this biopic
I wanted to enjoy this so much, but ended up being disappointed. The gorgeous costumes and lush cinematography just can't make up for the stiff writing and the sometimes-stilted acting. It felt like I was watching a biopic from the 1940s.
Jennifer Ehle and Jodhi May shine in this biopic, though; both May and Ehle steal each scene their characters: Lavinia Dickinson (Ehle) and Susan Gilbert (May), are in.
"A Quiet Passion" could have been more.
The World to Come (2020)
"The World to Come" is as bleak as "Ammonite" but not as lifeless.
We've seen this story before; in 18th century Brittany, 19th century Sicily, the Jurassic Coast and now on the American frontier.
The film starts cold and desolate; the scenery and the tone reminded me of "The Witch". The score, oftentimes foreboding, perfectly highlights the film's melancholia. It's a poetic movie, its prose languid yet charged. Stony yet lush. And the chemistry between Vanessa Kirby (Tallie) and Katherine Waterston (Abigail) radiates.
Unfortunately just like other lesbian films, it suffers from clichés: lonely star-crossed lovers, longing glances and one-dimensional (and unsurprisingly sexist) cardboard cutout husbands, it's a case of 'take something old and make it new' but it is a beautiful movie nonetheless and both Kirby and Waterston offer phenomenal performances.
"The World to Come" unlike "Ammonite" doesn't make a shocking explosion that feels disconnected from an otherwise consistent film; instead it builds up a fire, leisurely going through all the stages like that of a burning building: incipient, fire in its initial stage. A growth albeit an unsteady one. A fully developed fire, and inevitably...decay.
The fire between Abigail and Tallie knows no frontiers and it holds up an unsteady but defiant flame only to be abruptly extinguished. It ultimately leaves both the film and the audience cold. "The World to Come" is as bleak as "Ammonite" but not as lifeless.
Vita & Virginia (2018)
Exudes Seductive Eloquence
With all the scathing reviews, Vita & Virginia still had me from beginning to end.
Its prose exudes seductive eloquence; call me a hopeless romantic but the picture as a whole is like a beautiful ballad or poetry. The synth-pop-esque score feels refreshing against the 1920s backdrop, it doesn't feel out of place; and the cinematography is sleek (I immediately developed a particular fondness towards Virginia's 'hallucinations'). When it comes to the love scenes: less is more, n'est-ce pas?
(Vita and Virginia) is carefully, delicately weaved and it's beautiful in every sense of the word. Rarely do I show this much affection towards a film I've only seen once; but this had me, it just did.
Don't let other reviews deter you from giving it a chance...all it really needs is the right audience.