June is Pride Month, a time of both celebration and reflection, and there is no better way to do so than to dive into the world of queer cinema. Since the origin of moving pictures in the late 19th century, people have used the medium to share their experiences and express their values, and this is especially true for LGBTQ+ filmmakers. Nowadays, there is a wealth of queer cinema, spanning multiple genres, countries and time periods. There is no wrong way to get into LGBTQ+ cinema, but these four films are a good starting point. Together, they capture a taste of the nuances and complexities of the LGBTQ+ experience, whether by heavily featuring queer characters or being specifically about queerness.
“Mulholland Drive” (2001)
Inimitable filmmaker David Lynch’s 2001 magnum opus, “Mulholland Drive,” is regarded as one of the greatest movies of all time. After surviving a car crash, an amnesiac brunette named Rita — played by Laura Harring — befriends aspiring actress Betty — played by Naomi Watts in a starmaking performance — and the two resolve to discover her true identity. As the central mystery unravels, the film’s story becomes increasingly surreal and dreamlike. A mafia conspiracy, a liminal nightclub, a scarily effective jumpscare, a sinister cowboy and a turbulent lesbian tryst are just a few of what “Mulholland Drive” offers in its 147-minute long runtime.
The narrative opacity of “Mulholland Drive” has led to a myriad of interpretations, from a cautionary tale about the illusion of Hollywood to a musing on the absurdity of life itself. The film is underscored by LGBTQ+ representation, as the tense, amorphous relationship between Rita and Betty is key to understanding its tangled story, with the two characters relying on one another to solve the mystery at the heart of the movie. No matter the interpretation of the film, “Mulholland Drive” has established itself as a monumental achievement of the 21st century, and a terrific entrypoint into the filmography of one of cinema’s greatest dreamers.
“Farewell My Concubine” (1993)
Chen Kaige’s 1993 epic sketches 50 years of Chinese history through the perspective of Peking opera actors Cheng Dieyi and Duan Xiaolou, from their rise to stardom in the Republic to their downfall in the Cultural Revolution. As both actors grow together, Dieyi, played by Leslie Cheung, finds himself in love with Xiaolou, played by Zhang Fengyi, but his feelings are not reciprocated. What follows is a whirlwind of unrequited love, betrayal and heartbreak set in the backdrop of political turmoil in China, one that mirrors the titular opera the two characters were best known for.
Anchored by elegant cinematography, sumptuous costume design and a masterful performance by Cheung, “Farewell My Concubine” has become a landmark of Asian queer cinema for its depictions of homosexuality and gender identity. Internationally acclaimed, the film became the first Chinese-language film to win the prestigious Palme d’Or at the Cannes Film Festival. A sweeping tragedy about identity, historical change and the power of art, “Farewell My Concubine” is a must-watch for anybody interested in Asian and LGBTQ+ film.
“Dog Day Afternoon” (1975)
This sensational account of a real life robbery is an essential artifact of 1970s cinema. The film stars Al Pacino as Sonny, a fledgling criminal who decides to rob a bank with his partner Sal, primarily to fund his transgender partner’s reassignment surgery. After multiple mishaps, the botched robbery quickly escalates into a hostage situation, and the two find themselves in a standoff with the police, the media and a horde of curious onlookers.
The film was an immediate success, grossing over $50 million and winning an Academy Award for Best Original Screenplay. It was also notably progressive for the time period it was made in, being one of the very first Hollywood films to feature a bisexual main character and a trans character. Director Sidney Lumet and writer Frank Pierson portrayed them with empathy and dignity, unexpected in an era in which the LGBTQ+ community was not widely accepted. While its place in the queer canon has been contested over the years, “Dog Day Afternoon” is undeniably a classic of the 1970s and an essential for all those passionate about cinema, queer or not.
“I Saw the TV Glow” (2024)
Suffused with quiet dread, “I Saw the TV Glow” established Jane Schoenbrun as one of America’s leading indie directors. The film follows teenagers Owen and Maddy — played by Justice Smith and Jack Haven respectively — who bond over their love of the fictional TV show “The Pink Opaque.” One day, after disappearing for an extended period of time, Maddy returns, believing that she and Owen are actually characters from “The Pink Opaque,” trapped in a nightmarish dimension known as “The Midnight Realm.” As the film progresses, the line between fiction and reality starts to blur, and Owen begins to question himself and the world around him.
“I Saw the TV Glow” mostly eschews traditional horror scares, instead tapping into the existential fear of being stuck in somebody else’s body. The film acts as an allegory for being transgender, inspired by Schoenbrun’s own experience with coming out as transgender. Even so, the film can be relatable to anybody who has felt trapped in their own life. Fortunately, Schoenbrun offers a glimmer of hope. “There is still time,” reads a chalk drawing in one scene, showing that it is never too late to accept oneself. With dreamy visuals and an unforgettable soundtrack featuring Phoebe Bridgers and Caroline Polachek, “I Saw the TV Glow” is a cautionary tale and a reminder to live authentically.
Ultimately, constructing a definitive “canon” or “pantheon” of queer cinema is futile, as differing identities and experiences will lead to differing opinions not only on what should be included, but also about the films themselves. But Pride Month has always been a celebration of differences. After all, the word “queer” was originally meant to refer to anything strange or peculiar. These four films are just a drop in the ocean of the genre, but they may inspire anybody curious to embark on their own journey to discover all that queer cinema has to offer.
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