1974: An Ode to "Female Trouble" and Taffy Davenport

by Nick Taylor

As regular TFE commenter par pointed out in the comments for my Tina Holmes piece last week, there’s a lot of supporting actresses from 1999 who I could honor this Pride month. It’s a very tempting idea, and though many of those women will likely get their flowers later in the year - who wouldn’t want to pick over Election as the nonsense of the US Presidential race really starts heating up? - I think this is a terrific opportunity to hop across major eras and remind folks that, hey, queers have been around and making films for a long fucking time. We’ve been rubbing our grubby hands all over cinema since its inception.

If we’re talking about queer cinema, and if we’re talking about a peak among peaks, there’s really nowhere else to go but Female Trouble, John Waters’ inspiring ode to troubled teen flicks from the ‘50s, and the perfect performances of Mink Stole and Hilary Taylor as Taffy Davenport . . . .

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1999: Tina Holmes in "Edge of Seventeen"

by Nick Taylor

Hello, strangers! Did you miss my supporting actress write-ups? With no smackdown to latch onto like a gay barnacle, I’ll be hopping onto our 10|25|50|75|100 anniversary format to look back on supporting actressing feats of years past. For those keeping track at home, this means I’ll be writing up performances from films released in the US in 2014, 1999, 1974, and 1949 (technically I could also do 1924, but I think that’s less likely). If you would like to see the whole list of films and performances I'm considering for this series and a longer run-down of it, click here! The dream is to post these corresponding to months of release, or, barring that, themed categories based on what month it is. Like how June is gay Pride month, meaning I can write about queer films and queer actresses all month long! Broader schedules hopefully mean more wiggle room to write about as many films as I like!

For my first entry in this series, I’m immediately going to take advantage of that US release calendar for Tina Holmes's indelible performance in David Moreton’s Edge of Seventeen . . . .

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Cannes Diary: Jacques Audiard's stunning 'Emilia Perez'

by Elisa Giudici

How does Jacques Audiard do it? Emilia Pérez would be an extraordinary film if it were directed by a 35-year-old filmmaker who had just matured and created a groundbreaking movie destined to consecrate his career. Yet Audiard is 72 years old, already has a Palme d'Or at home, and a portfolio of excellent films. He doesn't need to reinvent himself or take many risks, having reached an age and fame where some simply coast along, continuing to indulge their existing obsessions.

Instead, Audiard delivers a film that, on paper, should be disastrous and unworkable...

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Cannes at Home: Day 8 – The Beautiful People

by Cláudio Alves

Sean Baker's ANORA looks like a top contender for the Palme d'Or.

After much divisiveness in the Main Competition, the Cannes critics finally have something to fawn over in collective uproar. Sean Baker's Anora was a hit with press and audiences alike, standing out in a selection of otherwise derided titles. Indeed, Christophe Honoré's Marcello Mio met critical rejection on the same day of Grand Tour's world premiere, while Paolo Sorrentino's Parthenope inspired another wave of dissenting opinions. Some love it, while many others decry the Neapolitan director's obsession with objectified female bodies, beauty above everything else, even cinematic meaning. Considering his last few projects, this shouldn't come as a surprise.

That shall be the theme of this Cannes at Home program—the beautiful people. Let's explore the siren calls of Baker's Tangerine, Honoré's The Beautiful Person, and Sorrentino's Oscar-winning The Great Beauty…

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Drag Race RuCap: Season Sixteen's “Grand Finale”

Nick Taylor and Cláudio Alves watch and recap RuPaul’s Drag Race season sixteen. This week, it’s time for the grand finale…

Look at those ponytails! Sasha Colby's impact is immeasurable.

CLÁUDIO: Better late than never, amirite? Well, even if I’m not, please pretend. 

Many days have passed since season sixteen drew to a close, with Taiwan goddess Nymphia Wind crowned America’s next drag superstar. It was a conclusion I wished for but wasn’t expecting, thinking Philly had the win secured up until those final minutes. After all, nothing in the season’s edit positioned the Banana Buddha as a threat, mostly ignoring her to the point she was invisible for a couple of episodes in the middle. On the other hand, Sapphira had winner energy from the go, a notion bolstered by the judges’ unvarying praise and four wins to her name. It’s easy to see why Miss Cristál’s stans feel a bit flabbergasted, though I wish some of them weren’t so quick to invalidate RuPaul’s chosen champion.

NICK: It’s still a shock! A pleasant one, but an odd one, and one I can understand folks feeling snaked by. As gaggy as Nymphia’s finale lip sync was - and I do think she won that battle - Sapphira gave a winning performance too! She was winning the whole episode, the whole season, until she didn’t. . . .

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