Good morning and happy Friday! IndieWire has a great interview with queer filmmaker Ruthie Doyle. A quote:
It’s 20 years after B. Ruby Rich named “New Queer Cinema,” and I feel so privileged to work within this milieu. But at the Berlinale this year I was shocked by how many films (spoiler alert!) still ended with the LGBT character beat up, killed, etc. (And on a more personal note, a lack of women kissing!) [My film] La Vernia has a queer lead, but that’s just a fact of who she is, it’s not a point of conflict. Luckily I think it’s clear that’s the direction that we’re moving in with gay films.
Where Holly Golightly defied heterosexual convention (and even inspired noted feminist Gloria Steinem), the same year’s The Children’s Hour allowed Hepburn’s confrontational poise to venture into uncharted cinematic territory: a woman facing a lesbian scandal in a time when the word “lesbian” couldn’t even be uttered on-screen. For years, Hollywood had struggled to adapt Lillian Helman’s modern spin on the scandal that rocked Scotland in the 19th century — going so far as to make it a tale of heterosexual adultery to appease censors in the ’30s — until The Hays Code lightened up and Hollywood was finally allowed to directly reference the idea (if not the language) of homosexuality.
Cosima’s wig is tiny. I use an old theater technique where we build a cage with wire and crepe hair and sew appliances to it. Although it looks substantial, less is more, and it’s about the movement of the hair. The piece would shock you, and that’s as far as I can go. At Orphan, we take a blood vow not to divulge too much information.