JOhn King

3 weeks ago | losangelesblade.com | JOhn King |John King

If you’ve ever wondered why so many queer movies are are coming-of-age stories, it might be that you were lucky enough to go through the transition into young adulthood without having to worry about your sexual alignment or gender identity being acceptable to your family or your friends or the world at large – and if that’s the case, we are truly happy for you. That’s the way it should be for everyone. Unfortunately, it’s not.

1 month ago | losangelesblade.com | JOhn King |John King

Creating a worthy remake can be a tricky proposition, especially when the movie being remade is a beloved classic – but that doesn’t mean it’s an impossible one. Consider Andrew Ahn’s new version of 1993’s “The Wedding Banquet,” a film that put future “Brokeback Mountain” director Ang Lee on the proverbial map in America, which opens in theaters this weekend after a debut at Sundance earlier this year.

1 month ago | washingtonblade.com | JOhn King |John King

For queer audiences hungry for representation, nothing says “I feel seen” quite as much as a good queer romcom. Perhaps it’s because love stories are universal, differing from culture to culture in the surface dealings only, and therefore have the potential for helping straight audiences understand a different kind of love a little better; or perhaps, in seeing our kind of love displayed so publicly, we feel a sense of validation. Whatever the reason, it rings our bell.

1 month ago | losangelesblade.com | JOhn King |John King |JOhn King |John Paul King

The name Alain Guiraudie might not be familiar to most Americans, but if you mention “Stranger by the Lake,” fans of great cinema (and especially great queer cinema) are sure to recognize it immediately as the title of the French filmmaker’s most successful work to date.

1 month ago | washingtonblade.com | JOhn King |John King |JOhn King |John King

The name Alain Guiraudie might not be familiar to most Americans, but if you mention “Stranger by the Lake,” fans of great cinema (and especially great queer cinema) are sure to recognize it immediately as the title of the French filmmaker’s most successful work to date.