Love without borders

Quir-Kino for the day of all lovers-from a frivolous romcom to a heartbreaking drama, from underground to the Hollywood mainstream

The pursuit of LGBT people did not begin yesterday, but over the past two years, a homophobic state policy seems to have reached the climax. Since December 2022, a law has been in force, according to which the propaganda of “non-traditional” sexual relations and “sex change” is prohibited in online cinemas, cinema and the media among all Russians. For violation of the law, legal entities must pay a fine from 800 thousand to 4 million rubles or suspend activities for up to 90 days. After that, online cinema-theaters inevitably engaged in censorship, cutting entire storylines from digital content. So, in Euphoria, almost all episodes were reduced by 5-10 minutes, homosexual scenes evaporated from the White Lotus, and the French thriller “Magic of the Beast” shortened by a quarter. Not to mention the fact that for every second film and the series from sin, they began to hang the labeling “18+” away. However, this did not help the platforms much: according to Roskomnadzor, in less than a year and a half, the total amount of fines exceeded 50 million rubles. And at the end of November 2023, the Supreme Court of the Russian Federation declared a non -existent “international public movement of LGBT” by an extremist organization, in view of which the threat loomed not over digital content, but over living people. We observe the consequences right now: from now on, they are planted even for rainbow earrings on denunciations.

However, on February 14, on Valentine's Day, we offer to distract from what is happening a nightmare and enjoy the viewing of Quir-Kino, who demonstrates not only diversity, but also the similarity of love, regardless of the gender, age and nationality.

"Law of desire" (la ley del demeo), dir. Pedro Almodovar, 1987

Pablo Kinterero is a successful avant -garde film director, faced with a crisis in relations with his lover Huan. When the situation finally comes into a dead end, they temporarily part, and soon after that Antonio appears on the threshold of the Pablo House - a passionate fan of his work, ready to be next to his idol.

After the death of the dictator Francisco Franco, at the turn of the 1970-80s, Spain seemed to be awakened from a prolonged lethargic sleep. Movida Madrillei came - a cultural revolution, one of the leaders of which was the young director Pedro Almodovar. The Law of Desires is its first international success, as well as the picture in which his recognizable handwriting has already been formed. A film about three gays and one transgender woman exists at the junction of a soap opera and a high tragedy, provocative erotica and twisted to the limit of sentimentality - all the best works of the director will be. The “Law of desire” was a breakthrough not only for Almodovar, but also for Antonio Banderas, who first appeared in the role of an ardent hero-lover who looks like a movie star of Hollywood a pre-war era.

"Let'85" (été 85), dir. Francois Ozon, 2020

1985, sultry French summer. 16-year-old Alex is wandering along the beach, thinking about his own future. His father is convinced that it would be time to get a job to the sister of the sister to get a job, while the teacher insists that the guy has a literary talent. At the same time, Alex himself is obsessed with the idea of ​​death. Once, a young man is a step away from going to another world: a boat with a carefree young man on board falls into a storm and turns over. At the decisive moment, David appears on the calipso sailor and pulls Alex out of the water, after which he leads to his home. As usual, a feeling flashes between them.

“Let'85” is a movie for those who have already watched “Name me with their own name.” Despite the rather tragic finale, the picture of Francois Ozon turned out to be surprisingly bright, including thanks to the picturesque landscapes of the Primorsky town of Le-Roper and the nostalgic atmosphere of the 80s. A teenage gay drama about first love does not shine with originality, but leaves a pleasant aftertaste.

"Boarded wire" (The Living End), dir. Gregg Araki, 1992

John is a bored movie journalist who received an analysis with a positive AIDS reaction. Throwing everything, he travels aimlessly by car, writing down his thoughts on the recorder. Late in the evening, a charming stranger hiding from the police sits up to him. Together they run on the run, traveling through the vast expanses of America and falling into all kinds of troubles.

In the early 1990s, in the midst of panic against the background of an HIV epidemic, a group of independent directors who shoot films about LGBT bundles arose in the USA. With the light hand of film critics, the wave was called New Queer Cinema, and among its ambassadors the current classics of Todd Hinse and Gus Van Saint appeared. Gregg Araki is another bright representative of the current, alas, who failed to break out of the underground. Gay activist and former musical critic, in 1992, Araki debuted with the impudent Road-Muy "Boiled Wire", stylistically reminiscent of a half-hour post-panel clip. Blood and black humor, love and death, Godar and Jarmen-all this crazy mix became the quintessence of the new Quir-Kino, who turned out to be a worthy alternative to the Hollywood mainstream.

“Catch, fish” (Go Fish), dir. Rose Trosha, 1994

Max is a student from Chicago and an open lesbian, whose usual life collapses with the advent of an extravagant Ellie. At first, Max rejects Ellie’s courtship, but once he still agrees to go to the cinema with her. The first date smoothly flows into the second, and then into the third.

Rose Trosha is almost the only woman in the new Quir-Kino, who was undeservedly left in the shadow of her colleagues-muzhin. Today, many know her as the showranster of the popular series “Sex in another city” about the daily life of several lesbians. However, for the first time, the Trosha turned to this topic back in the early 90s, literally on the knee, creating an indie hit “Catch, fish”-a wonderful picture telling about relationships between women truthfully, vital and without stereotypes.

Matthias and Maxim (Matthias & Maxime), dir. Xavier Dolan, 2019

Matthias and Maxim are the best friends standing on the verge of important changes in life. The first is a native of a rich family who is preparing to get a place in his father’s company and are about to make an offer of a lover. The second is a closed hard worker, looking after a mother-narcomancer and thinking about moving to Australia. The ordinary world of guys collapses when a friend persuades them to play a couple in her own student short film.

Having reached the 30th anniversary, Xavier Dolan managed to know the taste of victories and the bitterness of defeats. His debut work “I killed my mother” was compared with “400 strokes” of Trufffo, and for the Canadian Wunderkind presented in the Cannes, he shared the reward with Godar. However, the stellar film pester “When the end of the world comes” and the English -language debut “The Death and Life of John F. Donovan” were defeated by critics and caused an ambiguous reaction among fans. After that, Dolan went to another extreme and shot a movie with unprofessional actors, many of whom are his close friends. And he gave out his most lyrical and sensual film with an abundance of happy faces in the frame.

"Losers" (Bottoms), dir. Emma Seligman, 2023

Pi Jay and Josie are two non -pound friends who are regularly subjected to mockery from peers. High school students are hopelessly in love with Chirleiders, Isabelle and Brittani, who do not even pay attention to them. The life of girls changes when they accidentally knock down Jeff, the defender of the school team. To avoid the exception, Pi Jay and Josie create a women's self -defense club, the purpose of which is to expand the rights and capabilities of students. By the way, those same chirlerds begin to visit the circle.

“Losers” is a win-win option for those who are nostalgic through youth comedies of the 1980-1990s. The director and screenwriter Emma Seligman dashingly adapted well -known genre cliches to modern realities. The scene, of course, is the idyllic American school of the 80s, where 30-year-old actors are touching touching, depicting adolescents. But only in the center of the narrative this time there are lesbians, and the plot engine is not so much unrequited love as female solidarity.

"Lonely man" (a single man), dir. Tom Ford, 2009

Los Angeles, 1962. The Cold War between the USA and the USSR reaches a critical mark. Millions of Americans are waiting for a nuclear apocalypse, but there is nothing to deal with the literature professor of literature about what is happening around. A few months ago, he lost Jim - the love of his life. Having lost the meaning of existence, a middle -aged man is increasingly thinking about suicide, but the next day presents him with a number of surprises.

“Lonely man” is an option for a melancholy day of all lovers. The director of the drama was Tom Ford, a world -famous fashion designer who, to the surprise of skeptics, turned out to be an equally talented cinema. In addition to stylish interiors, luxurious costumes and a bewitching visual series, which, in general, could be expected from Ford, the “lonely man” offers a piercing story of great love, told through fragmentary flashbacks. This is the benefit of Colin Ferte - a favorite of women, damn convincing as a homosexual that overcomes the loss. A few years later, the British master played in another sad gay drama Supernov, who also deserves attention.

"Friends" (BROS), dir. Nicholas Staller, 2022

Bobby is a 40-year-old subcaster from New York, who believes that it was not created for a serious relationship. The bachelor appreciates independence and prefers non -binding acquaintances through applications. Once, fate encounters Bobby with Aaron - a lawyer of the middle hand with whom, it seems, little in common. At first, the newly made friends just walk around the city, but soon friendly relations grow into romantic.

“Friends” is an unobtrusive romke, built according to the classical scheme, with the difference that we are talking about the relationship of men. One of the two main roles was performed by Billy Aikner, who also acted as a co -author of the script, while the cult comedian Jadd Apatou took up the producing of the tape. Despite the modest box office, “friends” fell in love with both critics and viewers. The authors managed to create a ridiculous and deprived of a romantic comedy, capable of brightening up even the most gloomy evening.