Why trans bodies matter (hint: It’s the Patriarchy, Stupid)

In the wake of the recent Supreme Court decision overturning Roe, leaving reproductive rights to be strangled by the groping hands of overwhelmingly male Republican state legislatures across the US, progressive activists demanded action. And the Democrat-controlled federal government, having dropped the ball on abortion and facing tough midterm elections this fall, swiftly responded with two bills: one which codified the right to same-sex (and interracial – an added fuck you/“dare you to overrule that” touch to Justice Thomas) marriage, the other the right to contraception. The former quickly passed the House – including with support from members of the party that killed Roe – while the latter seems DOA in the Senate. Which, perhaps unsurprisingly, led the professional political pundits to first express “shock” at both outcomes, and then to wildly hypothesize. How had an IUD become more controversial than gay marriage? And was this actually a silver-lined sign of progress? (Of course not.)

So to read the rest of my essay on how the political punditry got it so wrong visit Global Comment.

Safe sex scenes: Body Parts

SEX: Exploring the female body in Hollywood by tracing the making of sex scenes, the toll it takes on those involved, and what it means for women in the real world. For most of its history, Hollywood has been globally gaslighting the world, exporting the lie that the male gaze is somehow always benign or «neutral,» when of course, nothing could be farther from the truth. Fortunately, we now have Kristy Guevara-Flanagan’s (Wonder Women! The Untold Story of American Superheroines) eye-opening Body Parts, which world-premiered in the Spotlight Documentary section of this year’s Tribeca Film Festival, to unpack both how we got to this patriarchal cinematic state and how those in the camera’s line of sight are now shooting back. Drawing from a sweeping range of classic film clips and knowledgeable voices on the subject of simulated sex onscreen – from film scholars to intimacy coordinators to Jane Fonda – the doc is, sadly, proof positive that it didn’t have to be this way; the «inevitably» of female objectification in the movies actually the result of a highly systematic manmade plan.

To read the rest of my essay visit Modern Times Review.

“I Can’t Afford to Let Cliches Live in the Cinema I Make”: Leilah Weinraub on Shakedown

Leilah Weinraub’s 2018 Shakedown, which began playing Metrograph on June 17th (and has been held over through June 30th due to high demand), has been touted by Variety as the “the first-ever non-adult film” to be picked up by Pornhub. Yet it could also be called the sex site’s first-ever Berlinale-premiering and Tate/ICA/MoMA PS1/Whitney Biennial-screened acquisition. And likely the smut streamer’s first-ever labor of love release as well. Indeed, Shakedown is a film that defies any easy categorization. Ostensibly a longform cinematic exploration (crafted over 15 years starting in 2002) of the titular, mid-city, Los Angeles, Black lesbian strip club, the doc is likewise a study in the invention of identity, family and community — especially for those marginalized by both blood relatives and society. It’s also a heck of a risk-taking endeavor: Neither a feminist film nor an easily digestible depiction of Black women for that matter, the true (and unapologetically self-proclaimed) stars of the doc are just as comfortable expressing sexual fluidity (the legendary dancer Egypt reminisces about the time before she was gay) as they are popping a bare booty for the lens.

So to read my interview with the intersectional industry vet behind the lens - a NYC-based native of LA whose unconventional career has taken her from being mentored by Tony Kaye, to working with Julia Reichert and Steven Bognar, to serving as CEO of the street-wear fashion brand Hood By Air - visit Filmmaker magazine.

Doc Star of the Month: Marshall Ngwa aka BeBe Zahara Benet, 'Being BeBe'

World-premiering at the 2021 Tribeca Festival, Emily Branham’s Being BeBe is a revealing walk (uh, sashay) down memory lane with the titular BeBe Zahara Benet, the very first winner of RuPaul’s Drag Race, back in 2009. Well, not exactly. Rather, BeBe’s equally charismatic conjurer — a Minnesota transplant from Cameroon named Marshall Ngwa — actually takes the lead in guiding us through 15 vérité-captured years of the artist’s creatively fulfilling/financially devastating (though fortunately, family-supportive) life — from her humble amateur drag beginnings in Minneapolis in 2006 (when Branham, whose sister was a backup dancer for the performer, began filming) to the heights of reality-show fame, and then back down to the brutal reality of the murder of George Floyd and a COVID lockdown-stalled career. Until naturally, this unrelenting champion of “Queer Black Excellence” ultimately rises, phoenix-style, in fabulous heels once again. All of which makes Ngwa/Benet the quintessential fit for Documentary’s June Pride Doc Star of the Month. Being BeBe premieres June 21 on Fuse (and OUTtv in Canada).

To read my interview visit Documentary magazine.

“The Way the Janes Approached This, One Woman at a Time, Helped 11,000 Women Get Safe Abortion Care”: Tia Lessin and Emma Pildes on their Human Rights Watch Film Festival closing night doc The Janes

The Janes, which closes this year’s Human Rights Watch Film Festival in-person May 26, followed by an HBO premiere June 8, is one woefully prescient walk down pre-Roe memory lane. Directed by Academy Award nominee Tia Lessin (Trouble the Water, which also nabbed the Sundance Grand Jury Prize and the Gotham Independent Film Award back in 2008) and Emmy nominee Emma Pildes (Spielberg, which the debut director likewise produced for HBO), the doc tells the illicit tale of the titular underground network of college-age activists who defied the law (and male expectations) to provide women in Chicago with safe, shame-free abortions. Until, perhaps inevitably, they got busted in a headline-grabbing raid (by the homicide arm of the CPD no less). And then, in the most Hollywood of twists, found the tide of history that they’d helped turn was actually on their side. Pildes and Lessin (whose accolade-laden bio also includes “two Emmy nominations, one arrest, and a lifetime ban from Disneyland” for the late-90s TV series The Awful Truth) found time just prior to their doc’s Human Rights Film Festival launch to give us the scoop on combining contemporary interviews with archival footage from a clandestine past; resulting in an unnerving portrait of a possibly hellish future (at least, as usual, for the young, BIPOC and poor). (The Human Rights Watch Film Festival streams nationwide May 20-26 at The IFC Center. All ticket purchases help subsidize the cost of free tickets – set aside on a first come first-served basis – as HRWFF does “not want the cost of entry to be a barrier for participation in the festival.”)

To read my interview visit Filmmaker magazine.

True Romance: Kamikaze Hearts

Juliet Bashore’s Kamikaze Hearts, originally released in 1986 and now set to screen in a new 2K restoration by the UCLA Film & Television Archive (May 13 in NYC at BAM and May 20 in LA at Alamo Drafthouse with a nationwide rollout to follow), is a mesmerizing time capsule of the San Francisco porn industry in the 80s, told through the toxic romance of two star-crossed lesbian lovers. It was an era defined by a Hollywood-conjured president, busily selling trickle-down snake oil to the masses while blithely ignoring a fast-moving epidemic (that would go on to kill well over 30 million). None of which is explicitly addressed in Kamikaze Hearts, but rather looms like a boom mic hovering from above offscreen.

To read the rest of my review visit Global Comment.

“We’re All Pornographers Now”: Juliet Bashore on Her 2K-Restored Kamikaze Hearts

Any director whose bio includes being fired from “an animated children’s film for Miramax titled The Great North Pole Elf Strike for portraying Santa’s elves as gay” is my kind of filmmaker. And Juliet Bashore, of the aforementioned dismissal, also has the added distinction of being the force behind the prescient time capsule of the pre-gentrified San Francisco sex industry, Kamikaze Hearts (1986). That “fictionalized documentary” (“hybrid” was a term yet to be coined) depicted the doomed relationship between lovestruck Tigr (also a producer on the film) and the object of her adoration, gender fluid “(nonbinary” was likewise not yet coined) porn star Sharon Mitchell, aka “Mitch.” It’s a film that certainly defied expectations back then — the period’s average mainstream movie contained hotter sex scenes — as well as now, with the riveting psychodrama’s upcoming rerelease in a 2K restoration by the UCLA Film & Television Archive. So to learn all about the journey from underground to establishment, Filmmaker reached out to the unconventional film artist (and VR pioneer) a week before, via Kino Lorber, the doc’s nationwide rollout, starting with a May 13th NYC debut at BAM and May 20th in LA at Alamo Drafthouse.

To read my interview visit Filmmaker magazine.