By Michael Koresky, Jeff Reichert | April 13, 2009

The only true limitation we gave our writers was that their selected films hail from a year no earlier than 2000: this is an investigation into gay representation specifically in the Bush era.

By Michael Koresky | April 12, 2009

A common, if under the radar, attack lobbed at Van Sant’s film is that by leaving out the facts of Harvey Milk’s alleged promiscuity, it reveals a biased agenda, to whitewash his life in the name of martyrdom.

By Chris Wisniewski | April 10, 2009

The Wire offers a rejoinder to the valorization of the post-gay (as well as the postracial) by positing that race, gender, sexuality, and class all help to shape our experience of social life and determine how we function within social and political institutions.

By Andrew Chan | April 8, 2009

Thinking about Stanley Kwan’s Lan Yu, I find it impossible to separate the film from a memory of adolescence, one that I sometimes take pleasure in glorifying as a key moment in my cinephilic puberty.

By Chris Wisniewski | April 5, 2009

At this point in his career, Haynes has transcended the queer ghetto and connected with broad, diverse audiences who approach his cinema from a multiplicity of perspectives and for whom Haynes’s biography matters less than their own in determining how they understand and appreciate his movies.

By Matt Connolly | April 4, 2009

You can only watch so many scenes of fiery young radicals holding up signs and yelling out protest songs before they all start to feel like the same damn march.

By Jeff Reichert | April 3, 2009

It’s no surprise that Terence Davies, ever a chronicler of fissures in the monolithic images of societal norms, would find a special kinship across time, nationality, gender, and sexual orientation with Lily Bart.

By Joanne Kouyoumjian | April 2, 2009

Eshaghian’s account of the current situation regarding sexual reassignment surgery in Iran is posed from a complex stance in which this procedure is not uniquely Islamic or even religious, but rather stems from a larger history of medical sciences and constructions of homosexuality and gender “confusion” as pathology.

By Andrew Tracy | April 1, 2009

By the time Craig briefly displays his brawny physique as he emerges from the ocean, Campbell has decisively made him into an object to be looked at.

By Leo Goldsmith | March 30, 2009

Whether unconscionable sacrilege or hyper-self-conscious camp, Travolta’s appearance is nonetheless transparent image-management of the most calculating and least entertaining variety.

By Michael Koresky | March 29, 2009

His cinema is purely one of desire, surveying a new generation of young gay men whose angst comes not as much from external social pressures and the threat of societal role-playing as the pangs and thumps of the heart.

By Michael Joshua Rowin | March 28, 2009

“Bromance” doesn’t suggest our culture has become more comfortable about male bonding; instead its euphemistic qualities suggest a greater sense of embarrassment and self-consciousness about it.