Gay movie mainstream

I remember watching Love, Simon for the first time in when I was in eighth grade. I felt immense joy at seeing a queer character be at the helm of a narrative instead of in the sidecar designated for G. Growing up in a small, conservative town, it was hard to find representation in real life, so what I was watching on Netflix or Hulu became increasingly important to me.

Movies like Love, Simon and other mainstream movies featuring queer main characters became an escape for me, and I got to experience a world outside of my hometown. As I got older, however, I started to outgrow these types of films. Furthermore, some modern films that could be categorized as queer cinema do not have openly queer characters but rely on homoerotic tension or subtext.

However, I think the main reason I feel disengaged with modern queer films is because I started watching more queer arthouse cinema. In Love, Simonif you change the fact that his love interest is a guy, the movie loses its entire plot. This use of sexual orientation and gender identity as a crutch for a plot might seem harmless, but it can have serious implications.

Why must being queer always be a struggle, especially one that only exists within the halls of their schools? Instead of putting openly queer characters into situations that only they as a queer person could be put in, these characters are put in situations either anyone could be realistically placed in, or situations that would never actually happen in a sane world.

Take, for example, the two films Female Trouble and Titane In the former, directed by John Waters, we are met with the deeply deranged queer protagonist, Dawn Davenport, played masterfully by drag queen Divine. In TitaneAlexia Agathe Rousellea serial killer with an attraction to automobiles, goes gay movie mainstream the run and attempts to masquerade as a missing boy.

When you gay movie mainstream these two movies to mainstream films like Brokeback Mountain or Carolthe differences are stark. The reason we see mainstream films only exploring one facet of queer life is because they are largely written and directed by either straight people or white, gay, cisgender men.

Obviously, straight people are not able to capture the intimate details of queer life because they are not queer. When homophobia is the biggest struggle faced by someone, the stories they tell can only do justice to a limited number of facets of the queer experience.

Berlanti is a white, gay, cisgender man from New York. He has produced a number of DC Comics adaptations, directed several rom-coms and is credited with creating the story for the Wrath of the Titans His work does occasionally explore homophobia, but does not always feature queer characters or meaningful representation of POC characters.

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In contrast, Sandoval is a transgender woman born in the Philippines who immigrated to the United States. Often, her work explores the theme of forbidden love. However, instead of making her romances forbidden because of homophobia, they revolve around racial prejudice and class divide.

Even when her characters are queer, Sandoval allows their identity to shape but not define them. There is a distinct lack of stories featuring queer characters that do not over-emphasize the sexuality of their characters for the sake of the plot. How many of those only used their gay character as a crutch to discuss homophobia, or to claim some representation points for major studios?

I believe that more mainstream filmmakers who aim to tell the stories of their gay characters to large audiences should seek to explore and understand queer arthouse cinema before creating their movies. Audiences are clearly not satisfied with the representation being delivered by major studios.

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