These films changed queer representation forever. We spoke with their earliest champion

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As someone who came of age during the height of the AIDS crisis and the New Queer Cinema movement, I can’t help but feel a deep sense of connection to the films and the artists that defined this pivotal moment in queer history. The pain and loss were palpable, yet so was the determination to find joy and pleasure in the midst of it all.

As a film enthusiast in the early ’90s, I was witness to an unprecedented surge of gay and lesbian films that dared to challenge the status quo. These movies blended postmodern sensibilities with contemporary fears surrounding issues like the AIDS crisis and rampant homophobia. But what truly set them apart was their innovative visual language. Drawing inspiration from avant-garde and video art, they managed to capture and reflect our collective concerns in a way that was both thought-provoking and commercially successful.

Those movies were challenging to categorize and even more difficult to overlook for film critic and scholar B. Ruby Rich. This collection of films signified an unprecedented era in cinema history, according to Rich, unlike any we’ve experienced before or possibly since.

In an interview with The Times over Zoom from Paris, at 75 years old, Rich shared that this was a period when filmmakers bravely produced movies capable of drawing audiences’ focus to unjustness and mortality. These films continue to hold significance due to their impact.

Notably, Rich coined the term “New Queer Cinema,” which has since become widely used. These films will be highlighted in an upcoming series at the Academy Museum of Motion Pictures, titled “Full of Pleasure: Exploring the Origins of New Queer Cinema.”

Guinevere Turner, left, and Cheryl Dunye in the 1996 romantic comedy “The Watermelon Woman.”
(Academy Museum)

Starting June 15, this exhibit will feature screenings of significant films like “Edward II” by Derek Jarman, a mournful take on royal drama, and Todd Haynes’ debut work “Poison,” which sparked controversy. Additionally, there’s Cheryl Dunye’s groundbreaking film “The Watermelon Woman.” These movies and their creators played crucial roles in shaping the landscape of independent cinema for the LGBTQ community.

In the early ’90s, there was a wave of groundbreaking films created by LGBTQ+ directors that were making a big impact on the film festival scene. Despite their varying techniques and artistic styles, they shared a unique perspective that critics began referring to as “Homo Pomo.” This term, coined by writer Rich in 1992, encapsulated the innovative spirit and fresh perspective of these pioneering directors.

After the Village Voice published Rich’s comprehensive article about this emerging literary canon, Sight and Sound magazine in Britain quickly followed suit by reprinting it and making it the focus of a conference at the Institute of Contemporary Arts in London. Not long after, Channel 4 in the U.K. produced a special program based on it.

After being picked up by distributors and cinemas, Rich explains, the film took on a life of its own. It became an effective tool for advertising movies aligned with the buzzing energy I had coined. Surprisingly, it continued to thrive, leaving a long-lasting impact – a truly delightful outcome. As for her newfound notoriety from contributing to the language, she humbly quips, “As a writer, I discovered that penning a catchy tagline beneficial for marketing can make you everlasting.”

Keanu Reeves and River Phoenix in Gus Van Sant’s 1991 drama “My Own Private Idaho.”
(Academy Museum)

During that time, Rich vividly recalls the experiences. Residing in New York City, she observed scholars grapple with the derisive term “queer” at seminars and in lecture halls. Meanwhile, activist groups such as ACT UP and Queer Nation were utilizing this term to express their frustration towards the government’s indifference towards the AIDS crisis by plastering the streets with posters.

Rich explained how he saw two distinct aspects of the term “queer theory” that resonated with him. Initially, it represented exploring and understanding this concept, its origins, and potential insights. However, just as he was wrapping his head around it, the phrase transformed into a powerful activist slogan: “We’re here, we’re queer! Get used to it!”

As she took in the wryly sensual pieces by Gus Van Sant, the poetic and pressing perspectives of Isaac Julien, the chaotically energizing works of Gregg Araki, and the biting satire of Cheryl Dunye during film festivals such as Sundance and Lincoln Center’s New Directors/New Films, Rich was inspired to create a phrase that still holds its thought-provoking power today.

“Had the films not held significant value, if filmmakers hadn’t continued producing them, and if there hadn’t been more talented filmmakers to join them, I believe the movement may have lost steam,” Rich expressed.

The explosion of cinema Rich was describing was unprecedented.

At that point in time, she explains, it was impossible to watch gay films in movie theaters. Few options were available besides Fassbinder’s works, which required subtitles for non-German speakers. This groundbreaking event revolutionized cinema culture significantly. It eventually became commonplace and lost its novelty. I believe that seeing gay themes, sex, and relationships portrayed on the big screen at your local multiplex was a truly transformative experience for many people during that era.

An image from Jennie Livingston’s 1990 documentary “Paris Is Burning.”
(Academy Museum)

In the early ’90s, New Queer Cinema gained significant popularity. These films reflected the zeitgeist and were highly acclaimed. At the Sundance Film Festival in January 1991, “Poison” by Haynes, a triptych inspired by Jean Genet’s novels with sci-fi and horror elements, and Livingston’s documentary “Paris Is Burning,” which explores New York City’s ball culture, received top awards from the juries. Later that year, at the Venice International Film Festival, Van Sant’s drama about a street hustler’s road trip, titled “My Own Private Idaho,” garnered exceptional reviews and River Phoenix earned a best actor award for his captivating performance.

These films resonated strongly with both critics and viewers, resulting in box office earnings of $8 million for Van Sant’s movie and $3.7 million for Livingston’s documentary. Their relevance and timeliness continue to be highlighted through the Academy Museum series.

The films produced in the early 1990s significantly challenged us with their raw and provocative style. They experimented with pastiche, borrowing, and irony, resulting in innovative methods of conveying gay and lesbian narratives. These movies defied being labeled simply as “gay films.” Instead, they were characterized by Rich as “irreverent, vibrant, and at times minimalist or extravagant. Most importantly, they exuded pleasure and invited us to engage with them as part of the queer community.”

These films, showcased in the Academy Museum’s screening series, earn their title from the significant lines they present. Among them are early works by Keanu Reeves (“My Own Private Idaho”) and Tilda Swinton (“Edward II”). The series also highlights less recognized pieces, such as Araki’s “The Living End” (1992), a raw road movie about two HIV-positive gay men on the run, and Rose Troche’s “Go Fish” (1994), a lesbian comedy that rightfully expanded the new cinematic landscape beyond an all-male domain. Despite dealing with pain, these films offer ample laughter and happiness.

“For Rich, it felt like an instantaneous burst of joy,” or “Rich described it as a sudden and intense sensation of pleasure.” Alternatively, “He experienced it as a swift, invigorating thrill,” or “It was a brief yet powerful moment of delight for Rich.” The metaphors used in the original quote are effectively conveying the idea of a sudden, intense, and energizing experience.

Ian Hart, left, and David Angus in the 1991 movie “The Hours and the Times.”
(Academy Museum)

She noted that those films were inspiring because they didn’t hold back on delivering enjoyment, both for the audience and on screen, during a time when it was scarce in supply. K.J. Relth-Miller’s curation of this collection at the Academy Museum serves as an excellent chance to reexperience those pleasures with the benefit of hindsight that comes with some decades having passed.

In 1992, the devastating impact of AIDS on people was palpable. No effective treatments or cures were available yet. While AZT was making progress, there were debates about its usage, and many continued to succumb to the disease. It wasn’t a time for triumph as an epidemic had not ended; instead, it offered a momentary respite. People took this pause to grieve their losses and seek solace amidst their sorrow.

Filmakers of the New Queer Cinema movement turned raw pain into vibrant alarms, jolting viewers, critics, distributors, and peers alike, compelling them to acknowledge and engage with the issues presented.

“These films ignited excitement and anticipation, according to Rich. Their presence felt exhilarating and they carved out a unique place in the film industry. They even brought along their own bright spotlights. There was no pleasure without some discomfort. Maintaining that delicate equilibrium was crucial.”

The balance is evident in Ellen Kuras’ stunning black-and-white cinematography for Tom Kalin’s “Swoon” (1992), a film Rich describes as adding a new perspective to the term “homicide.” This generation of filmmakers continues to demonstrate this unique ability to transform pain and sadness into captivating visual stories.

Does Paul B. Preciado’s “Orlando, My Political Biography” (to be released on Criterion Collection’s Janus Contemporaries label in late June) continue to leave a lasting impact? Rich highly praises this 2023 documentary-essay, which is influenced by Virginia Woolf and considered a remarkable piece of trans cinema. She expresses the need for more films similar in theme and content, not just limited to queer or trans experiences.

In today’s movie scene, she finds it hard to stay hopeful. According to Rich, it’s astounding how the film industry has neglected to produce movies addressing the atrocities of contemporary life. Instead, they seem to have opted for producing mere forms of amusement.

In these projects, such as “The Hours and Times” about the rising Beatles and “Young Soul Rebels,” a compelling and unrealized potential lies within (they are part of the Academy Museum’s collection).

These movies serve as a powerful reminder of a specific era, just as they represent a groundbreaking advancement in cinema. In my opinion, this is the reason for their enduring popularity. No one has managed to surpass them so far, and they remain fresh and relevant.

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2024-07-18 19:01