There's a
scene in Eating Out, a sweetly raunchy indie gay
sex comedy currently working its way through art-house
theaters, that arguably sums up in one broad stroke
the progress American queer cinema has made in the
past 15 years. Hunky small-town college students Marc
(Ryan Carnes) and Caleb (Scott Lunsford) are out on a date,
and they've made their way to the local video
store--which has a section devoted exclusively
to films of "gay/lesbian interest."
There was a time when such a scene would have been a
laughable fantasy, but when Eating Out's
writer-director, Q. Allan Brocka, scouted his Tucson
setting for locations he found "an actual video
store that really did have a sizable gay and lesbian
section. It was really great to see."
That section is about to get a whole lot bigger.
Eating Out is just one of a sudden bounty
of gay- and lesbian-themed American films coming soon
to theaters near you, ending a multiyear drought that had
many GLBT moviegoers latching on to the likes of Finding
Nemo and The Lord of the Rings for their
queer image satisfaction. OK, it wasn't quite
that bad, but it's not an idle complaint.
"We're an inherently invisible community. Film
and video make the invisible visible," explains
Stephen Gutwillig, executive director of Outfest, Los
Angeles's international gay and lesbian film
festival. In a nation facing a mounting bramble of questions
surrounding free expression and gay rights, a surge in gay
representation in this country's biggest
export, the modern motion picture, is certainly worth
celebrating--and worth some healthy scrutiny as well.
"What's notable about this
year's collection of high-profile [domestic
gay-themed] films is how they illustrate the different
ways that films are being financed and distributed,"
notes Gutwillig. "It's a nice range of
star-driven stuff, full-on indie stuff, emerging
filmmakers, established filmmakers, start-up
distributors, and well-known industry players."
Of course, this kind of excitement has happened
before. In the early 1990s, independent cinema was
electrified by a bumper crop of gay-themed
films--including Todd Haynes's Poison,
Gregg Araki's The Living End, Tom
Kalin's Swoon, and Rose Troche and
Guinevere Turner's Go Fish, to name just a
few--so artistically bold and brimming with urgency
that they were considered a full-fledged movement,
dubbed the "new queer cinema" by
renowned film critic and feminist academic B. Ruby Rich.
Then...things just fizzled out. None in
this pink pantheon made much of a dent at the box
office, and most of the directors eventually moved on
to other subject matter. Even when one did readdress the gay
experience, like Haynes in Far From Heaven, it was
typically as part of a much larger whole.
But the foundations were laid. Brocka singles
out Poison in particular as a powerful
touchstone in his development as a filmmaker.
"Seeing a film that was just so queer but so not, at
the same time, was this voice that I'd never
heard," gushes Brocka, who is also an
occasional Advocate columnist. "I felt like I
related to it on so many levels--it was a huge
inspiration for me."
So much so that the last thing he expected his
feature debut to be was a film like Eating Out.
Brocka says he wrote the movie on a lark while
attending graduate film school at California Institute of
the Arts, structuring it like "the films I
liked of the '80s, like John Hughes films and
the college sex comedies."
See if this sounds slightly familiar: Shy jock
Caleb is actually straight, convinced by his gay
roommate, Kyle (Jim Verraros), that playing gay to
date music major Marc is the best way to snag Marc's
cute roommate, Gwen (Emily Stiles)--a love quadrangle
completed by Kyle's long-standing, unrequited
crush on Marc. If that's confusing, it's
actually kind of the point. College sex comedies,
remember, are supposed to feature love connections tangled
by high-concept deceit; otherwise there's no
movie. Not that Brocka ever thought he'd
actually make the film.
"I never thought I'd do anything
with it," he laughs, "because it was so
trashy, not really that deep, and it was a genre
movie.... I hadn't seen many gay films that were
genre movies, meaning like a gay horror movie, a gay
Western, a gay college sex comedy, a gay spy
movie--and now we've got one of each."
No kidding. In fact, it's a major factor
that gives Gutwillig hope that 2005 isn't just
an "anomalous boomlet" in queer films.
Eating Out is one of several movies this year
that could essentially be called "gay and
___." These films take Hollywood genres as old
as the movies themselves and reconstitute them with
gay characters and gay-themed plotlines. The first out of
the gate, the "gay spy movie"
D.E.B.S., debuted in March, and it's
highly doubtful there'll be a better cinema success
story, gay or straight, this year. In fact, if it was a
movie, you probably wouldn't believe it.
Angela Robinson
grew up wanting to direct big Hollywood movies--not
exactly an easy thing for an African-American lesbian to
achieve. "I loved movies like Raiders of the
Lost Ark and John Hughes movies," she
remembers, "and I always wished the movies would
turn out differently. I was always reimagining that Molly
Ringwald got together with Ally Sheedy or something."
About three years ago a friend told Robinson
about POWER UP, a Hollywood networking organization
that gives grants to lesbian filmmakers to make short
films about the queer experience. So she submitted
D.E.B.S., a kind of "Charlie's
Angels in a boarding school" satire in
which one of the good girls falls in love (and into
bed) with their female archnemesis. POWER UP gave
Robinson $20,000 to make it. When the 11-minute short
debuted at the 2003 Sundance Film Festival, it was
such a hit that Sony-owned studio Screen Gems hired
Robinson to remake D.E.B.S. as a feature-length film
for $4 million, lesbian plotline and all.
Robinson, whose next project is--get
this--Disney's summer family comedy
Herbie: Fully Loaded with Lindsay Lohan,
chalks up her success with D.E.B.S. to entertaining
her audience above all else. "Many people have
been like, 'Oh, I don't think your
movie's a gay movie,' " she says
with her ever-pleasant laugh. "And I'm like
'That's great!' Because it totally is.
For me, I feel like I get to have my cake and eat it
too. It's something that is one step removed
from, 'this is just a gay story.' "
Count B. Ruby Rich as one of Robinson's
fans. In fact, she happily owns up to consuming her
share of salty gay popcorn: "Hey, I sit around
and watch The L Word on Sunday nights too."
But she also expresses some concern that gay and
lesbian audiences cannot subsist on popcorn alone.
"Fine, let people explore genre," Rich
says. "But that doesn't mean that I'm
automatically going to be interested."
Her fear, Rich explains, is that pop movies like
Eating Out, D.E.B.S., and June's gay
horror film HellBent will siphon gay audiences
away from more challenging films like
Tarnation, Jonathan Caouette's highly
acclaimed kaleidoscopic autobiography that barely got
distributed last year even after queer cinema
luminaries Gus Van Sant (My Own Private Idaho)
and John Cameron Mitchell (Hedwig and the Angry Inch)
put their names on it as executive producers.
"A lot of audiences for the new queer
cinema were not there because they were so excited
about the aesthetic breakthrough," Rich says
with a tinge of resignation. "They were there because
it was the only place they could find gay content.
It's a fickle audience, and if they can find it
somewhere else and it goes down easy like classic
Coke, they'll take it. I want them to be pushed."
She's not the only one. Mitchell also
laments the shift in gay cinema toward more mainstream
storytelling tropes--although he does understand
the impulse of up-and-coming gay filmmakers to move away
from the standard gay coming-out story. "Maybe
that's part of the growing-up of gay-themed
films," he ponders. "You move on from
coming out. I think of [coming-out] films as almost
traditional gay folk music or something. It's
like, 'Oh, that song again.' You can
[sing] it well, or you can sing it badly, but to me,
it's a little bit tired."
Mitchell is not just concerned about stereotyped
gay story lines; he's also worried about
stereotyping gay audiences. Take the hankie code gag
in Eating Out, for example. In one scene a
leather-bedecked gay couple snickers at faux-gay Caleb
because he's unwittingly put a brown bandanna
in his right back pocket--a ribald joke even
some gay men might not get. This scene and others like it,
written specifically and exclusively for a gay audience,
strike a nerve with Mitchell--and expose a
tricky fracture within the world of gay filmmaking.
"To me, whenever you assume that because
you're gay you're going to like this,
it's condescending," sighs Mitchell.
"There are people I know who cannot bear to see the
next Latter Days [the popular 2003 gay romantic
comedy set largely in West Hollywood, Calif.] because
they know it's going to be dumb. Not everybody
likes that kind of music; not everybody likes gym-distended
bodies; not everybody is into Britney Spears."
Latter Days, it so happens, was the first feature
from Funny Boy Films, founded two years ago by
entrepreneur Kirkland Tibbels in order to produce
exactly the kind of positive, heart-on-sleeve gay-themed
movies that have become old hat for observers like Mitchell.
"Studios don't want [this kind of
movie] because of the subject matter, and the typical
gay and lesbian distribution or production company
doesn't want it because it's not
edgy," Tibbels says in his winning west Texas twang.
"I could put my hands on my hips and say,
'Well, some of us believe we've seen too
many movies about the gay and lesbian community where
we want to go home and slit our throats.' If you put
a title on my section of this article, it would be
'Come on in, the water's fine.' "
Tibbels says he's really not that upset;
he'd just appreciate it if the gay filmmakers
he so deeply respects would cut him a little slack.
"You won't catch me throwing rocks at people
who tell stories that make me want to go home and slit
my wrists," he promises. "Because you
know what? They got that reaction out of me, and
that's their job." But Tibbels figures
there's room for everybody.
"We've got a lot of stories to tell, and
now's the time to tell them." For the record,
the upcoming project Tibbels is most excited about is
not nearly as cheery as Latter Days:
Sex-Crime Panic is the story of a '50s
witch-hunt in a small U.S. town based on a nonfiction book
(published by Advocate sister company Alyson Books).
Further proof
that the social awareness of queer filmmakers has not been
completely supplanted by bubble gum, Gregg Araki's
dark and deeply moving Mysterious Skin is
actually the one upcoming film everybody agrees
they're most anxious to see. And yet, interestingly
enough, it's a gay-themed film that its
"new queer cinema" writer-director would
just as soon not label "queer cinema,"
new or otherwise. "The problem with [that
label]," Araki says, stressing that he's
speaking only for himself, "is that there was a
certain expectation that was put on us, that we were somehow
the queer representatives, these spokespeople. I make films
not as a propagandist but as an artist, as a means of
expressing myself. My films are not about representing
gay identity for anybody, really. They're just
expressing how I feel."
In a way, Araki is touching on one of the big
questions for any filmmaker who's gay or
lesbian: Is the label "gay filmmaker" too
limiting? Mitchell seems to think so. His next film,
Shortbus, has already won him some notoriety
for his plan to shoot a narrative film with actors
participating in actual on-camera sex. "I very
specifically wanted to examine the love lives of people of
all sexual denominations," he says.
"Certainly, the film has a queer sensibility,
but it's trying to find things in common in the
variety, which I think has to be the future for gay-themed
films. Otherwise you're a ghetto. Take
advantage of your nonconformism. Use it."
Brocka, currently putting the finishing touches
on Boy Culture, a "gay
Trainspotting with hustlers instead of
heroin," takes a different tack.
"It's really, really hard to make a
film," he says. "And if I don't feel
totally passionate about it, you know, screw
'em. If I'm making it, it's
probably going to be gay. If I get ghettoized and all I can
make is gay films from here on out, hey, I'm
making films, and I can't think of a more
exciting life. I'm making things I'm truly
passionate about."
As long as people see the films. One of the
strangest phenomena about gay cinema, Outfest's
Gutwillig is quick to point out, is that while GLBT
film festivals are thriving--"There are more
gay and lesbian film festivals than any other genre of
film festival in the country and in the
world"--gay-themed films in general do not
see the kind of support at the box office that movies like
My Big Fat Greek Wedding and this
spring's Diary of a Mad Black Woman have
received from their respective segments of the population
(not to mention, ahem, The Passion of the Christ).
Part of that may be the fault of the DVD. The
same boom market that warranted an entire gay and
lesbian section in Eating Out's video
store is, in essence, making it easy for the gay consumer to
skip the theater and watch a gay film in the comfort
of her or his own home--something fewer people
did during the heyday of the new queer cinema.
Of course, Brocka points out that his movie
probably wouldn't have been made at all if it
wasn't for DVD. Produced for less than
$50,000--and delivering a bang for the buck that would
have been impossible before the recent revolution in
cheap, high-quality digital filmmaking
tools--Eating Out was budgeted specifically
to make its production company, Ariztical
Entertainment, a profit in the DVD market.
The film wasn't even supposed to play in
theaters, but its success last year on the
international film festival circuit--where it won a
fistful of "audience favorite"
prizes--convinced the producers to book a
limited theatrical run. Eating Out opened at
San Francisco's Castro Theater on March 18 and
quickly scooped up $17,500 in one weekend. It opened
April 8 in New York and Los Angeles, with other cities
scheduled for later in the spring.
Still, Eating Out's big-screen
success story is the exception among DVD-targeted
productions, in part because a budget of $50,000, even
superlatively used, is barely a budget at all, and
marketing dollars and press coverage tend to favor
higher-profile productions. Most DVD-only movies make
barely a blip on the cultural radar, even among
targeted audiences such as gays and lesbians. For any
filmmaker serious about a healthy career in cinema, a
successful theatrical release remains essential.
"Most movies make their money in an urban
market," Gutwillig says, which means gay movies
have to prove successful in a few big-city theaters
before they're booked into the smaller
markets--months later, if at all. As a result, even
profitable gay and lesbian movies don't make
much of a box-office splash. The weekend that
Eating Out grossed $17,500 on one screen, for
example, fellow indie Diary of a Mad Black Woman
earned an average of just $1,900 per
theater--but by playing on more than 1,200
screens to a remarkably supportive target audience, it had
raked in nearly $48 million in just 24 days. If more
gay-themed films proved themselves able to generate
Diary-like audience support nationwide, perhaps
the new new queer cinema could graduate from a passing
wave into a permanent flow of films.
As Angela Robinson puts it, "If everybody
went to see that scruffy lesbian feature and it made a
gazillion dollars, they'd be turning them out
in droves."