“Portrait of a Lady on Fire”: What is the fate of a fiery romance born from a gaze that lingered too long? What is the fate of the artist that falls in love with her muse? Critically acclaimed for its exquisite love story, “Portrait of a Lady on Fire” is a French period drama depicting a romantic relationship between two women. One of the women, Marianne, is a painter who is sent to an isolated island to paint a portrait of Heloise, a young aristocrat. Upon completion, the portrait will be sent to Heloise’s future husband, whom she has no desire to marry. Because Heloise refused to cooperate with the previous painters meant to perform the task, Marianne is commissioned under a lie. While posing as a walking companion, she must memorize Heloise’s features to complete the portrait in secrecy.

  This film is a captivating blend of beautiful cinematography, strong acting, and layered themes. Each frame is a painting in itself, bursting with vibrancy and color. Actresses Noémie Merlant and Adèle Haenel give powerful performances as two lovers trapped in unforgiving circumstances that foresee a tragic destiny. The film is not a shallow romance either — there is a deep exploration into the comfort of art and music accompanied by the power of the female gaze. Another compelling aspect is director Celine Sciamma’s portrayal of the same-sex relationship. In an interview with the New York Times in 2020, Sciamma spoke of her opposition to the “taboo of lesbianism,” demonstrating her refusal to portray the characters’ homosexuality as a source of conflict. Consequently, the film remains receptive to the social expectations placed upon the women while mainly emphasizing their relationship. As a lesbian herself, Sciamma also tastefully portrays the passion of Marianne and Heloise’s love without oversexualizing it. “Portrait of a Lady on Fire” carries a simplicity with its minimal characters and straightforward plotline. Yet the mesmerizing nature of the film provides for an emotionally resonant, worthwhile watch.

“Moonlight”: Winning three Oscars and a Golden Globe after its release in 2017, “Moonlight” is an inspiring movie adapted from Tarell Alvin McCraney’s semi-autobiographical play “In Moonlight Black Boys Look Blue.” When I approached this film, I expected a sensational romance of two young gay lovers. However, the first few minutes of the movie were quite unexpected, yet a powerful experience. While it features a romantic interaction, “Moonlight” is mainly a coming-of-age film that follows Chiron, a young African-American man grappling with his homosexuality, pressure from his peers, and an abusive home life. Three different points in his life are documented: his childhood, adolescence, and adulthood. The film’s realism elevates the basic plot to a remarkable experience, which can be attributed to McCraney’s real-life experiences and director Barry Jenkins’s exceptional script. The movie chapters could easily feel detached from another, especially with three different actors playing Chiron in different time periods. However, the performances are a stunning, cohesive feat that highlight a lifelong self-repression beneath Chiron’s maturation. The cinematography and score also create an immersive look into this protagonist’s life.

 “Moonlight” is the first LGBTQ+-related film to win an Oscar for Best Picture. It highlights the realistic struggles of LGBTQ+ youth undergoing self-discovery in an unfriendly environment. In 2017, Playwright McCraney spoke to BBC News about the film’s portrayal of black masculinity, where aggressive expressions of hypermasculinity are associated with acceptance in Chiron’s community. With this perspective of manhood, gay men are alienated as weak and effeminate. Chiron’s relationship with this toxic stereotype is a focal point in his character journey. Overall, “Moonlight” is as impactful as it is important. With a masterful combination of artistry and care, Jenkins gives a voice to thousands of disenfranchised LGBTQ+ youth. 

“The Birdcage”: Switching over to a more lighthearted mood, “The Birdcage,” the American adaptation of a French classic “La Cage aux Folles,” follows the story of two gay men — played by Nathan Lane and the late Robin Williams — who own a South Beach nightclub. Their son Val gets engaged to Barbara, the daughter of a very conservative family who condemns homosexuality, but Barbara’s father doesn’t know his future son-in-law has two fathers. In order to ensure their son’s plans for marriage are safe, they hide their sexuality during dinner with the future in-laws. As you can imagine, Robin Williams does a terrific job, especially with his liberally used improvisational skills. Robin Williams never fails to bring energy and charisma to his roles, and this is no different. While Williams is terrific, Nathan Lane steals the show as a drag performer. His over-the-top personality throughout the film is hysterical and adds to his chemistry with Williams’ down-to-earth character. Nathan Lane, who is gay, still mentions in interviews the seismic impact of the film and how it spread awareness about the LGBTQ+ community by normalizing same-sex couples. 

“The Kids Are All Right”: Similar to “The Birdcage,” this movie tells the story of LGBTQ+ parents, this time played by Julianne Moore and Annete Bening. After turning eighteen, one of their kids spontaneously decides to call her biological father. Played by Mark Ruffalo, the father incorporates himself into their lives, consequently creating rifts in the family and marriage. The film accurately portrays the modern American family through its normalcy; the fights, the conversations, and the dynamic of parent-child relationships come off as natural occurrences in every family. While Julianne Moore and Annete Bening do a good job demonstrating the struggle of a long marriage, Mark Ruffalo brings the best out of the movie. Ruffalo, who plays a stoner-hippie, creates the conflict in the film while adding comic relief to offer breaks in a movie with a surprising amount of tension. While one of the objectives of the movie is to normalize same-sex couples like “The Birdcage” does, it tackles a bigger question through the introduction of Ruffalo’s character: “Do kids need to have both genders represented as parental figures?” What makes this movie exceptional is that it does not give the audience a black and white answer. Instead, it showcases the highs and lows of raising children and emphasizes how parenthood is never an exact science. With minimal LGBTQ+ representation at the time, “The Kids Are Alright” in 2010 became one of the largest releases for a mainstream film about lesbian couples and parents as it familiarized its audience with the concept of gay marriage.