100 Best LGBTQ Films of All Time (Slant Magazine)
Опубликовано вт, 13/06/2023 - 19:15100 лучших "нетрадиционных" фильмов всех времен по версии Slant Magazine:
Top-100:
Michael (Carl Theodor Dreyer, 1924)
Mädchen in Uniform (Leontine Sagan, 1931)
The Blood of a Poet (Jean Cocteau, 1932)
Beauty and the Beast (Jean Cocteau, 1946)
Fireworks (Kenneth Anger, 1947)
Un Chant d’Amour (Jean Genet, 1950)
Strangers on a Train (Alfred Hitchcock, 1951)
Rebel Without a Cause (Nicholas Ray, 1955)
Victim (Basil Dearden, 1961)
Flaming Creatures (Jack Smith, 1963)
The Servant (Joseph Losey, 1963)
Scorpio Rising (Kenneth Anger, 1964)
My Hustler (Andy Warhol, 1965)
Portrait of Jason (Shirley Clarke, 1967)
Funeral Parade of Roses (Matsumoto Toshio, 1969)
The Boys in the Band (William Friedkin, 1970)
Trash (Paul Morrissey, 1970)
Death in Venice (Luchino Visconti, 1971)
Pink Narcissus (James Bidgood, 1971)
Sunday Bloody Sunday (John Schlesinger, 1971)
The Bitter Tears of Petra von Kant (Rainer Werner Fassbinder, 1972)
Pink Flamingos (John Waters, 1972)
Female Trouble (John Waters, 1974)
Fox and His Friends (Rainer Werner Fassbinder, 1975)
Salò, or the 120 Days of Sodom (Pier Paolo Pasolini, 1975)
Je, Tu, Il, Elle (Chantal Akerman, 1976)
A Place Without Limits (Arturo Ripstein, 1978)
In a Year of 13 Moons (Rainer Werner Fassbinder, 1978)
Les Rendez-vous d’Anna (Chantal Akerman, 1978)
Nighthawks (Ron Peck, 1978)
Querelle (Rainer Werner Fassbinder, 1982)
The Times of Harvey Milk (Rob Epstein, 1984)
The Angelic Conversation (Derek Jarman, 1985)
Before Stonewall (Greta Schiller, 1985)
Desert Hearts (Donna Deitch, 1985)
My Beautiful Laundrette (Stephen Frears, 1985)
Caravaggio (Derek Jarman, 1986)
Mala Noche (Gus Van Sant, 1986)
Parting Glances (Bill Sherwood, 1986)
Law of Desire (Pedro Almodóvar, 1987)
Maurice (James Ivory, 1987)
Looking for Langston (Isaac Julien, 1989)
Tongues Untied (Marlon Riggs, 1989)
The Garden (Derek Jarman, 1990)
Paris Is Burning (Jennie Livingston, 1990)
Madonna: Truth or Dare (Alek Keshishian, 1991)
My Own Private Idaho (Gus Van Sant, 1991)
Poison (Todd Haynes, 1991)
The Living End (Gregg Araki, 1992)
The Long Day Closes (Terence Davies, 1992)
Orlando (Sally Potter, 1992)
Blue (Derek Jarman, 1993)
Totally F***ed Up (Gregg Araki, 1993)
The Wedding Banquet (Ang Lee, 1993)
Wild Reeds (André Téchiné, 1994)
The Celluloid Closet (Rob Epstein and Jeffrey Friedman, 1995)
Beautiful Thing (Hettie MacDonald, 1996)
Bound (Lana Wachowski & Lilly Wachowski, 1996)
The Delta (Ira Sachs, 1996)
Happy Together (Wong Kar-wai, 1997)
My Life in Pink (Alain Berliner, 1997)
The River (Tsai Ming-liang, 1997)
The Watermelon Woman (Cheryl Dunye, 1997)
Fucking Åmål (Lukas Moodysson, 1998)
All About My Mother (Pedro Almodóvar, 1999)
Beau Travail (Claire Denis, 1999)
Being John Malkovich (Spike Jonze, 1999)
O Fantasma (João Pedro Rodrigues, 2000)
Mulholland Drive (David Lynch, 2001)
Yossi & Jagger (Eytan Fox, 2002)
Goodbye, Dragon Inn (Tsai Ming-liang, 2003)
Son Frère (Patrice Chéreau, 2003)
Bad Education (Pedro Almodóvar, 2004)
Mysterious Skin (Gregg Araki, 2004)
Tropical Malady (Apichatpong Weerasethakul, 2004)
The Raspberry Reich (Bruce LaBruce, 2004)
Wild Side (Sébastien Lifshitz, 2004)
The Blossoming of Maximo Oliveros (Auraeus Solito, 2005)
Two Drifters (João Pedro Rodrigues, 2005)
Brokeback Mountain (Ang Lee, 2006)
The Bubble (Eytan Fox, 2006)
Before I Forget (Jacques Nolot, 2007)
To Die Like a Man (João Pedro Rodrigues, 2009)
In the Family (Patrick Wang, 2011)
Tomboy (Céline Sciamma, 2011)
Weekend (Andrew Haigh, 2011)
How to Survive a Plague (David France, 2012)
Laurence Anyways (Xavier Dolan, 2012)
Eastern Boys (Robin Campillo, 2013)
Stranger by the Lake (Alain Guiraudie, 2013)
Carol (Todd Haynes, 2015)
Tangerine (Sean Baker, 2015)
Moonlight (Barry Jenkins, 2016)
Paris 05:59: Théo & Hugo (Olivier Ducastel & Jacques Martineau, 2016)
God’s Own Country (Francis Lee, 2017)
Call Me By Your Name (Luca Guadagnino, 2017)
BPM (Beats Per Minute) (Robin Campillo, 2017)
Climax (Gaspar Noé, 2018)
Portrait of a Lady on Fire (Céline Sciamma, 2019)
Days (Tsai Ming-liang, 2020)
