#My vintage gay movies movie#
Gay-specific series are also a throwback to the early, post-Stonewall days of gay liberation when movie stars were objects of worship, and their films could be seen only in theaters. Ruby Rich to denote the independent, transgressive-minded gay films emerging then, like Todd Haynes’s “Poison” and Tom Kalin’s “Swoon” Next Sunday the group will present a digitally remastered version of Gregg Araki’s “ Living End” (1992) about two HIV-positive gay men on a violent road trip. The Legacy Project is devoting part of 2012 to films of the New Queer Cinema, a term coined in 1992 by the critic B. Baran said the impetus for his series was to give new life to what mobile technology and the Internet have nearly destroyed: a communal filmgoing experience in which gay people get together to watch classic gay movies on the big screen. “It’s a cliché, but I think gay people really do have special relationships with movies,” said the filmmaker Jeffrey Schwarz, whose new documentary, “Vito,” about the gay film historian and AIDS activist Vito Russo, played at the New York Film Festival last year and is scheduled to be shown on HBO later this year. The Filmmakers Cooperative, a distributor of independent and avant-garde films, is raising funds to digitize Jose Rodriguez-Soltero’s rarely shown 1966 film “Lupe,” based on the Mexican-American actress Lupe Velez and starring the drag queen Mario Montez, a Warhol favorite. Among the 25 films to be screened, few of which had theatrical releases in the United States, is “ The Rose King“ (1986), a homoerotic tale about a boy, his mother and a young male farm hand. In May the Museum of Modern Art will hold a monthlong retrospective devoted to the German director Werner Schroeter, whose influences included Jean Genet, Jack Smith and Pier Paolo Pasolini. Through series like Queer/Art/Film as well as several new movies and books, they are serving as cinematic caregivers at a time when young gay audiences and mainstream Hollywood alike don’t seem interested in film’s gay past. Likewise gay men and women are also, to borrow a phrase from the author Will Fellows, “keepers of culture” when it comes to films and the filmgoing experience. If the stereotype is true, without gay rescuers the Victorian homes of San Francisco and the belfries of Savannah would be as good as firewood.
His selections are Jean Vigo’s “Zero de Conduite,” a 1933 French teenage rebellion film, and the 1973 made-for-TV movie “The Girl Most Likely To.”. And on Thursday the actor John Cameron Mitchell will host the opening of a Los Angeles outpost of the series at the Cinefamily at the Silent Movie Theater. On Monday the director Rose Troche (“Go Fish”) will introduce her choice, “Postcards From America” (1984), about the artist David Wojnarowicz.
“Come Back to the Five and Dime” was chosen by Jack Pierson, part of the Boston School of photographers whose work has been heavily influenced by gay culture. Sachs ask a notable figure to pick an inspirational film. The screening was part of the monthly Queer/Art/Film series started in 2009 by the filmmakers Adam Baran and Ira Sachs, whose “Keep the Lights On,” about a closeted lawyer and his lover, had its premiere at the Sundance Film Festival this year. The film’s gay cred is considerable: besides starring Cher - goddess to drag queens everywhere - it features Karen Black as a sympathetic transsexual character. It wasn’t the latest gay rom-com that had packed them in but rather “Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean,” Robert Altman’s 1982 film, based on Ed Graczyk’s 1976 play, about female friends who reunite at a Texas Woolworth’s on the 20th anniversary of James Dean’s death. IN front of the IFC Center in the West Village on a recent Monday night a largely gay crowd waited in line for a sold-out screening.