The death of the Hays Code and the rise of the New Hollywood saw an explosion of Queer Cinema from “No Way to Treat a Lady” to “Taxi zum Klo.” Here are 110 Queer Films from the New Hollywood.
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Spanning over a century of filmmaking, and tracing the gamut from slasher to psychological to supernatural, TheBrownees ranks the 135 greatest horror movies from 1920 to 2026. The top 15 are: Psycho, Midsommar, The Exorcist, The Shining, Alien, The Road, Dead Ringers, Take Shelter, Under the Skin, Carrie, Halloween, Rosemary’s Baby, The Substance, Hereditary and Don’t Look Now. Directors Tod Browning, Robert Eggers, Roman Polanski, George A. Romero and James Whale are each listed three times. Fourteen directors are represented twice – Ari Aster, John Carpenter, Wes Craven, Zach Cregger, David Cronenberg, Brian De Palma, Coralie Fargeat, Alfred Hitchcock, Tobe Hooper, Jordan Peel, Ken Russell, Steven Spielberg, Jacques Tourneur and Robert Wise. Fargeat, is one of five female directors on the list and the only one to be represented twice. The others are fellow French director Julia Ducoumau, British director Rose Glass and American filmmakers Kathryn Bigelow and Karyn Kusama. Be afraid! Be very afraid!
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“Fassbinder Revisited: A Cinematic Journey” reveals three masterworks of cinema: The Bitter Tears of Petra von Kant, Ali: Fear Eats the Soul, and Veronika Voss. And two for television: The Stationmaster’s Wife (also known as Bolweiser) and the 14-episode Berlin Alexanderplatz.
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Director Michael Pearce moves with visceral precision and Julianne Moore shows us, yet again, what a magnificent actress she can be.
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Oldroyd pulls out all the stops and the three actresses complement one another so perfectly that we end up savoring 2023’s best scene.
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Fennell’s writing and directing are brilliantly inventive, with humor, tragedy, and horror mixing perfectly. She gets immense support from her cinematographer, Linus Sandgren, whose work here is truly breathtaking.
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“How to Have Sex” follows three teenage girls on vacation in Greece. Mia McKenna-Bruce delivers a heartbreaking performance as Tara. One of 2023’s best.
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Laporte is tremendous in portraying a complex character who appears to have an “escape” but really doesn’t. It’s a heartbreaking performance.
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Leaving out vast chunks of the great conductor’s life, Cooper gives a vain impersonation of a vain man while Carey Mulligan takes the acting honors.
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Doug Stanhope is “The Road Dog” of the title in writer/director Greg Glienna’s inspired blend of the road movie and stand-up comedy.
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Min, playing a dislikeable character, manages to make Ben, if not exactly likable, then certainly sympathetic. Both Sherry Cola and Debby Ryan are superb.
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And Henry gives a tour de force performance that matches his spine-tingling monologue in “If Beale Street Could Talk”. Like Lawrence he is one of the all-time greats.
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Beautifully Queer friendly, the relationship between Bee (Maria Bakalova) and Sophiie (Amanda Stenberg) is the emotional center of the movie.
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Aamu Milonoff is exceptionally good, giving a beautifully grounded yet magical performance. The kind that makes you sit up and take notice.
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I left “Flee” with that “floating-on-air feeling” that you get after seeing something special. After seeing a masterpiece.
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Meise directs what must be some of the most beautiful and heartfelt scenes ever captured on film between two men in love.
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Finally, a toast, amid all this great food, to four extraordinarily talented actresses: Sennott, Draper, Gordon, and Argon.
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Ignacio de la Torre was the son in law of Mexico’s president for life and dictator Porfirio Díaz’s. But he was leading a double life with his lover Evaristo.
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“Beanpole” conveys, beautifully, the ability of human beings to find moments of intimacy and even love under the most horrific of circumstances.
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“Ripley”, Minghella’s masterpiece, boasts Matt Damon’s best performance plus stunning turns by Philip Seymour Hoffman and Jude Law.
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Bridget Fonda does a fabulous Lesley Gore (thinly disguised) in Alison Anders’ 1996 movie “Grace of My Heart”
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It’s delirious fun in classic Waters mode, with the incomparable Divine scaling Crawford‑level heights of Sirkian melodrama.
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The movie is full of lavish production numbers, melodrama, and even a brief same-sex dance gag in which a man asks a couple if he can cut into their dance, and, while the woman says Sure, he dances away with her partner!
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Director James Whale’s masterpiece is as close to Susan Sontag’s definition of high camp as the movies can deliver.
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The Best of the Astaire-Rogers movies. Cinematography: David Abel. Production Design: Carroll Clark/Van Nest Polglase. Songs: Irving Berlin.
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Both gay and trans, Sylvia/Sylvester set the bar impossibly high for years to come. One of the great financial disasters of the 1930s, it resulted in Hepburn being labelled box office poison.
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Director Gregory La Cava, fresh off My Man Godfrey (1936), directs with a light, improvisatory touch, and Hepburn and Rogers play off each other beautifully.
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When Hepburn’s aunt asks him to explain, he replies exasperatedly, “Because I just went gay all of a sudden”
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Every character in the movie, and every animal featured, was female. Great work by Crawford, Russell, Shearer and Mary Boland.
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Judy Garland captured everyone’s heart with that voice, vulnerable yet confident. Innocent yet knowing.
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