As of this August, both are available exclusively on PinkLabelTV, either streaming on-demand or with a PinkLabelTV PLUS subscription.įounded in 2013 by queer feminist producer and director Shine Louise Houston, the PinkLabel platform is a treasure trove of indie adult entertainment, with diverse titles grouped into several appealing channels. Two of them, Passing Strangers and Forbidden Letters, represent the plot-driven gay male erotica Bressan is better known for, and are the latest of his films to be restored by the Bressan Project.
Bressan, Jr., including his landmark 1978 documentary Gay USA, chronicling the LGBTQ rights movement, and the wrenching 1985 drama Buddies, the first feature film to tackle the AIDS crisis.īressan himself succumbed to complications related to AIDS in 1987, following a prolific period in which the native New Yorker directed ten films in ten years. For several years, Olson and the Bressan Project have worked to restore the films of pioneering gay filmmaker Arthur J.
The journey down the virtual video aisles of streaming platform PinkLabelTV began with a message from Jenni Olson, filmmaker, film historian, and co-director of the Bressan Project. I masked and distanced, marched and protested, hiked through a forest and laid on a beach. I mourned a death in the family, along with the deaths of many I didn’t know. I also worked from home, at seemingly all hours, and tried to keep up with the world’s deluge of conflict and disruption. I didn’t just watch porn all summer, of course, but I watched more porn than usual. Perhaps there are those who’d decline or scoff at the opportunity. Rather, consider this a primer that helps illustrate the relationship between queer culture and the silver screen.Wakefield Poole’s “Boys in the Sand” - Vintage Gay Adult FilmsĪt some point during the quarantine, a well-curated adult entertainment website approached me, offering access to peruse their voluminous catalog.
It is nowhere near a comprehensive rundown of every great movie to feature out-and-proud heroes and villains, or a queer sensibility, or even just visible (and/or risible) examples of gay life in cinema we could have easily made this list twice as long. In honor of LGBTQ Pride Month, we’re singling out 50 essential LGBTQ films - from comedies to dramas, documentaries to cult classics, underground experimental work to studio blockbusters. Some have been documents of a moment or era of gay history, some have been used as correctives to decades of negative clichés, and others have simply celebrated the fact that the movies can be queer, they’re here, get used to it. But since those two men first danced, there have also been scores of stories, characters, and filmmakers that have presented the varied, multitudinous aspects of LGBTQ experiences 24 frames per second that have gone past those stereotypes, or flipped them on their heads. That clip appears in The Celluloid Closet, Rob Epstein and Jeffrey Friedman’s documentary based on Vito Russo’s study of homosexuality in the movies, along with countless examples of how gay characters showed up, per narrator Lily Tomlin, as “something to laugh at, or something to pity, or even something to fear.” The history of representation is long, and extremely storied, often shaping how the public viewed “the love that dare not speak its name” for better or worse. It’s considered by many to be one of the first examples of gay imagery in film, and a reminder that homosexual representation has been with the medium from the very beginning. While there’s nothing to outright suggest that these men were romantically involved or attracted to each other during the roughly 20-second length of their pas de deux, there is nothing that contradicts that notion either. It’s known as “The Dickson Experimental Sound Film,” and dates back to 1895, the same year movies were born. It was an experimental short made by William Dickson, designed to test syncing up moving pictures to prerecorded sound, a system that he and Thomas Edison were developing known as the Kinetophone. But this brief footage is not so ancient that you can’t clearly make out two men, waltzing together, as a third man plays a violin in the background. It’s grainy, faded, and, given the clip is now 125 years old, more than a little worse for wear.