Austin Cinematic Limits

As many of you probably know, I have been juggling an all-consuming day job with various writing gigs, essentially leaving no time for anything else (life, sleep); and, as the saying goes, all work and no play makes Don a dull boy. We have enough Jack Torrance’s in this world, and before I start running around abandoned hotels with an ax, I figured it was in my best interest to start hacking away at my current workload.


Austin Cinematic Limits

I have been attending the Austin Gay and Lesbian International Film Festival (aGLIFF) religiously for the last six years (and a bit more sporadically for the eight years prior to that). Sure, I do not consider myself to be lesbian, gay, bi or transgender, but I do have a soft spot for New Queer Cinema. I consider Todd Haynes, Gus Van Zant, Gregg Araki, Pedro Almodóvar, Jamie Babbit, Derek Jarman, James Cameron Mitchell, Céline Sciamma and Xavier Dolan to be some of the most adventurous and exciting filmmakers of the last couple of decades. Not only do they expand upon the traditional cinematic representations of sexuality and gender, but their films push the boundaries of the narrative form. That said, I feel like my choices have been kind of limited when it has come to aGLIFF’s programming; because, to be brutally honest, there is such a thing as “too queer” for my tastes. I was clearly not aGLIFF’s target demographic, and I totally understand that; but, despite being an outsider, I have consistently walked away from each aGLIFF with three to five stand-out films that have ended up on my year-end lists. This being its 25th year, aGLIFF opted for a major face lift. A clever new re-branding scheme changed the name of the festival to Polari, thus removing any gender-specific terminology (which seems to be in a constant state of flux anyway) in an attempt to make the festival open to everyone (not just gays and lesbians, as suggested […]

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published: 01.25.2015
published: 01.25.2015
published: 01.25.2015

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