Queering the Oscars: The Delicious Costumes of "The Talented Mr. Ripley"

Team Experience has been looking at LGBTQ+ related Oscar nominations. Tonight we're serving lewks!

By Christopher James

For a movie with iconic nude scenes, the costumes of The Talented Mr. Ripley (1999) are just as memorable and titillating. It’s fitting that the Oscars honored the incredible work of costume designers Ann Roth and Gary Jones for the film, which should’ve shown up in more categories than the five it was nominated for. Though the actual Oscar went to Lindy Hemming’s period-specific and gloriously gaudy work in Topsy-Turvy, we’re still cheering on the sidelines for Ripley.

Let's count down the 10 queerest looks from the movie...

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Queering the Oscars: "Common Threads: Stories From the Quilt" for Best Documentary Feature

Team Experience has been looking at LGBTQ+ related Oscar nominations. 

by Nick Taylor

Over the course of June, one of my big cinematic missions was to watch as many queer documentaries as I could. A broader understanding and recognition of lived queer experiences, either through art or lived interaction, is something I’m finding increasingly valuable and incredibly grateful for. Past or present lives, always reflecting so many potential futures - cherish that shit! Cinema allows for a unique view on long-gone lives I would never have met. A lot of my dive has been focused on the Criterion Channel’s various LGBTQ+ playlists. If you haven’t already seen Dressed in Blue, Tongues Untied, and Shakedown, watch them all now and learn from their authors, the multitude of voices in front of and behind the camera bravely willing to show us who they are and what they know. 

Common Threads: Stories from the Quilt, was also a recent discovery, equally inspired by this series and by its renewed spotlight on Criterion. To those who want to see it but don’t have this particular streaming service, it is also free on YouTube). The film is one of two Oscar-winning documentaries directed by Rob Epstein in Criterion’s playlist, each representing worlds of grassroots activism on behalf of a queer America grappling with very different realities from each other. The Times of Harvey Milk is as committed to being a joyous celebration of solidarity and advancement as well as a hollowing eulogy for everything violently, permissibly stolen from queer America as Common Threads is, with its own fierce editing and poignant, unabashed political agenda...

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Queering the Oscars: Best Foreign Film 1999, "All About My Mother"

For Pride Month, Team Experience has been looking at LGBTQ+ related Oscar nominations. We've decided to extend the series for a few more episodes. Pretend it's still June for a bit!

by Eric Blume

It’s wonderful fun to revisit 1999’s Best Foreign Language Film Oscar winner, director Pedro Almodóvar’s All About My Mother.  Although it’s a beautifully textured, multi-layered tapestry of themes and emotions, it has to be one of the unusual films to ever win this big prize. The plot involves, among other thing: a nurse going onstage as an unrehearsed cover for Stella in A Streetcar Named Desire; a HIV-positive, pregnant nun; two heterosexual women united by giving birth to sons named Esteban from the same transgender woman; and numerous conversations and jokes about acquired tits.

That none of these unlikely and uncommercial plot strands feel forced or shocking is due to the artistry of Almodóvar. The Spanish auteur weaves stories together nobody else would think of in a million years, wrapped up in the boldest color palettes imaginable, with performances of sheer emotional force that rattle the roof...

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Queering the Oscars: The Costumes of "Orlando"

by Cláudio Alves

Sandy Powell's career has been closely tied to queer artistry since its genesis. After completing her education, the costume designer soon started collaborating with multi-hyphenated gay icon Lindsay Kemp whose stage work she had long admired, and, later, her jump from theater to film would be predicated on another queer genius, Derek Jarman. They'd work on four projects – Caravaggio, The Last of England, Edward II, and Wittgenstein – and the costumer would continue, keeping his memory alive after the director's death in 1994. Since then, even as her profile grew into the mainstream, Powell remained faithful to the idea and ideals of queerness in cinema, often joining forces with artists under the LGBTQ+ umbrella, Todd Haynes most of all.

As Pride Month 2023 reaches its end, let's remember this Academy darlings' first brush with Oscar. It was in 1993 when Sally Potter's adaptation of Virginia Woolf's Orlando earned Sandy Powell a Best Costume Design nomination…

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Queering the Oscars: Bruce Davison in "Longtime Companion"

by Cláudio Alves

As nominees, presenters, and other attendees arrived on the red carpet for the 63rd Academy Awards, they were met with righteous commotion. ACT-UP members picketed the ceremony, holding banners decrying universal inaction when over 102,000 people had already died by the modern plague of AIDS. During the festivities proper, activist David Lacaillade, who had found his way to the audience, stood up and shouted invective against the proceedings, demanding action and calling those who do nothing hypocrites. AIDS Action Now! Sadly, there seemed to be very little in the way of open solidarity inside the Shrine Auditorium.

Earlier, protestors offered button pins emblazoned with "SILENCE = DEATH" to the folk walking the red carpet. Most people declined to wear them, but Bruce Davison was one of the few to don the message. He was also the rare example to wear it all ceremony – some people took them down before the opening monologue was through. Davison was present as the sole nominee from Longtime Companion, the first mainstream feature to depict the effects of AIDS in the gay community. Walking into the Oscars, he felt a heavy responsibility pressing down on his shoulders. In his own words, the actor was "carrying the torch for the people represented in this film"... 

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