If there’s anything Hollywood loves – during “Awards Season” at least – it’s a good old-fashioned epic.

From “Gone With the Wind” to “Ben-Hur” to “The Godfather” and beyond, the film industry has always favored “big” movies when it comes to doling out its annual accolades, in part because awards equate to more public interest (and therefore more revenue) for films that might not otherwise grab enough attention to earn back their massive budgets. Yet, profit motive aside, such movies exude the kind of monumental grandeur that has come to be seen as the pinnacle of filmmaking craft, a perfect blend of art and entertainment that represents Hollywood at its finest and most iconic. It only makes sense that the people whose life is devoted to making movies would want to celebrate something that lives up to that ideal, especially when it also seems to reflect the cultural climate of its time.

That’s good news for “The Brutalist,” which has been buzzed – for months now – as the front-runner for all the Best Picture awards and seems to have proven its inevitability with its win of the Best Motion Picture Drama prize at this week’s Golden Globes. It meets all the requirements for an epic prestige picture: a sweeping plot, containing a nebula of currently relevant thematic ideas, but with an iconic historical period as its backdrop; monumental settings, spectacular locations, and impeccably designed costumes; an acclaimed actor giving a tour-de-force performance at the head of a proverbial “cast of thousands” and a runtime long enough to necessitate an intermission. Add the fact that it comes with an array of already-bestowed prizes from some of the most prestigious film festivals in the world, not to mention high placement on most of the year’s prominent “10 best” lists, and its predicted victory charge through the rest of the awards gauntlet looks likely to be a sure bet.

That assessment might seem glib, even cynical, but it’s no reflection on the movie. On the contrary, “The Brutalist” stands out above the rest of the crop not because of the hype, but because of its cinematic excellence, and that is precisely what has made it such an attractive awards candidate.

Spanning several decades across the mid-20th century, it’s the saga of László Tóth (Adrien Brody), a Hungarian Jewish refugee – once a young rising star on the European architecture scene – who seeks a new life in America after being liberated from a Nazi concentration camp. Reuniting with his already-Americanized cousin (Alessandro Nivola), who now owns a furniture business in New York, he offers his Bauhaus-educated expertise in exchange for a place to stay, leading to a fortuitous connection with a wealthy industrialist Harrison Lee Van Buren (Guy Pearce) who becomes enamored with his work. The resulting commission not only allows him to design and begin construction on a spectacular new masterpiece, but to facilitate the emigration of his beloved wife Erzsébet (Felicity Jones) – from whom he had been separated during the war – and his orphaned niece Zsófia (Raffey Cassidy).

Things are never easy for an immigrant, however, and unanticipated setbacks on an ambitious project for his mercurial new patron – possibly connected to a “functional” heroin habit that has grown increasingly difficult to balance with his professional life – soon lead to one reversal of fortune after another. It will take years before László is finally given the chance to complete his dream project, but even then the volatile affections of Van Buren threaten to thwart his ambitions before they can reach fruition.

It’s difficult to offer a synopsis that effectively sums up the powers of this film’s singular combination of pseudo-historical gravitas (the “pseudo” in this case means “fictionalized,” not “untruthful”) and coldly aloof observational commentary about the truth behind the so-called “American Dream”; director Brady Corbet unfolds his boldly countercultural narrative, in which the wealth and power of a privileged class that holds sway over the destiny of immigrants and outsiders is allegorically portrayed through the relationship between a visionary artist and the oligarch who ultimately wants nothing more than to exploit him. It’s an unmistakably political perspective that shines through that lens, and one that feels eerily apt in a time when even the greatest expressions of our humanity are granted value only so far as they serve the interests – and feed the egos – of the ruling power elite, and marginalized outsiders are “tolerated” only as long as they are useful.

In the intricately woven screenplay by Corbet and writing partner Mona Fastvold, these ideas run throughout the story of László’s American experience like the streaks of color in a slab of fine marble, turning “The Brutalist” into an anti-fascist parable through the personal stories of its characters. The portrait it paints of American classism, racism, anti-Semitism and sexism – all perhaps most boldly personified by Van Buren’s arrogantly boorish son (Joe Alwyn) – is not an attractive one; and though it grants us historical distance to make its observations, it is impossible not to see both the ominous connections that can be made to our current era and the true character of an American history in which “greatness” only existed for those with the money to buy it. The result is an eloquent piece of filmmaking that manages to “speak truth to power” through the details of its narrative without lofty speeches (mostly) or other contrivances to highlight its arguments – though admittedly, the broad strokes with which it crafts some of its more unpleasant characters occasionally feel like not-so-subtle Hollywood-style manipulation.

Ultimately, of course, what gives Corbet’s movie its real power is its size. Like the architectural style embraced by its title character, “The Brutalist” is monumental, a construction of high ceilings and ornate furnishings that is somehow streamlined into a minimalist, functional whole. Superbly shot by cinematographer Lol Crawley in a nostalgic VistaVision screen ratio that demands viewing on the big screen, it boasts a bold visual aesthetic rarely attempted by modern films, further suiting the scale of the statement it makes.

Finally, though, it’s Brody’s outstanding performance that drives the film, a master class in understated emotional expression that reveals a complex landscape of pain and passion through nuance rather than bombast. Jones is also superb as his wife, every bit his intellectual equal and exuding strength despite being wheelchair bound, and Pearce delivers a career-highlight turn as Van Buren, capturing both his confident charisma and terrifying rage while still giving glimpses of the hidden passions that lurk below them – though to say more about that might constitute a spoiler.

There’s no denying that “The Brutalist” is a superb movie, and one that feels as capable of standing the test of time as one of its protagonist’s structures. Make no mistake, though, it’s no crowd-pleaser; non-cinema buffs may be daunted by its combination of extreme length and leisurely pace, and while it has its moments of uplift, it can also be grim and melancholy. For those with the stamina for it, however, it’s a movie that enfolds you completely, and holds your interest for each of its 200 minutes.

One thing you can count on with “Emilia Perez” star Karla Sofia Gascón is she is going to speak her mind. Such was the case last night at the Golden Globes when the fantastic Spanish-language musical, which is directed by Jacques Audiard, won for Best Picture.

Speaking about her orange dress, Gascón said, “I chose these colors tonight — the Buddhist colors — because I have a message for you. The light always wins over darkness. You can put us in jail, you can beat us up, but you can never take away our soul or our resistance or our identity. I want to say to you, raise your voice and say that I won, I am who I am, not who you want [me to be].”

“Emilia Pérez” was the most-nominated film of the evening and was honored with four Golden Globe awards for Best Film – Musical or Comedy, Supporting Female Actor (Zoe Saldaña), Original Song, and Film not in the English Language.

Jodie Foster, who won a Golden Globe for  HBO‘s “True Detective: Night Country,” was equally free spirited in her comments onstage and to journalists backstage in the pressroom.

“The great thing about being this age and being in this time, is having a community of all these people… our ‘True Detective’ team, we love you so much. We’re really here for only one reason, and that is the wonderful, beautiful Issa Lopez, our showrunner, writer, director, I’m so grateful to you and your talents and your friendship,” Foster said.

When asked what excited her more, film or television projects, she said: “Honestly, I think the most exciting narrative filmmaking right now is being done on streaming. That’s where I really go to see performances and to see characters build over time,” she said.

“Although I have to say the features this year are amazing, for me as a feature person, it’s great to see that both can coexist, and there are different ways of telling stories.”

Foster also won an Emmy for the show last year and calls this a “golden age” for older women in Hollywood, who are increasingly being honored for their performances after spending decades being ignored.

“I think something happens, there’s like an organism that gets released in your bloodstream — I’m not a doctor, so don’t follow me on that one — but it just feels like there’s a hormone that happens where suddenly you go, ‘Oh, I don’t really care about all the stupid things anymore, and I’m not going to compete with myself.’”

She continued: “I’m excited about what’s left of my life and who I become, and the wisdom that I can bring to the table. So for me, this is the most contented moment of my career, and I never would have known that. I just never would have known that. But something happened the day I turned 60, and it all just came to pass.”

Netflix’s “Baby Reindeer” star, Jessica Gunning received the award for Best Performance by a Female Actor in a Supporting Role On Television. 

Delighted to win for her first nomination, she said, “I realized this moment has been a kind of soundtrack for my life for this last year. I cannot believe any of this has happened to me … this has changed my life in ways that I can’t even explain.”

Secret Spot DTLA received the Queer to Stay preservation grant for LGBTQ+ businesses, owner and founder Cameron Ljungkull announced on an Instagram post last month.

The QUEER TO STAY grant initiative is a collaboration between the Human Rights Campaign, SHOWTIME and Paramount+ to provide funding for LGBTQ-serving businesses and business owners, in order to help keep their doors open and continue serving their local communities.

The initiative began in June 2020 to address the growing need to support and preserve LGBTQ+ spaces across the U.S. during the height of the COVID-19 pandemic. During its first year, grants were awarded to ten LGBTQ+ businesses and most recently, Secret Spot DTLA is one of thirty LGBTQ+ businesses to receive the grant.

Secret Spot DTLA is a 24/7 collaborative workspace for musicians, photographers, filmmakers, and creative professionals. The studio offers in-house professionals to consult with, as well as access to recording and photography tools and more. The grant money will go toward expanding the studio’s Queer, Trans, Black, Indigenous and People of Color’s open mic contests to include more prizes and partnerships within the music industry of Los Angeles.  

Ljungkull was living in Minneapolis as a recording engineer when he realized the artists he really wanted to work with were being priced out of studios. Traditional recording spaces require a studio professional to be present with any artist using the space, but Ljungkull found there was a lot of time where studio resources were not being utilized at all, and the people who used the tools were often self-sufficient without the need for assistance from an engineer. Being Black and Queer, Ljungkull also had trouble with the lack of diversity in Minneapolis, and felt that it was hard to be expressive in studio spaces with people that weren’t very receptive to him. 

 ”How do you pair people who want access to something with something that needs to be used?,” Ljungkull reflected. 

He started hosting QTBIPOC open mic contests in 2013 to make space for people to perform and compete for prizes like recording sessions and photoshoots. In 2021, Ljungkull opened Secret Spot DTLA in its current location off of Los Angeles St. 

Last year, the studio hosted a larger contest in Minneapolis, where the first prize winner won an all-expenses paid day trip to Los Angeles to record music, shoot photo and video, perform and get professional promotions for 3 days. With the QUEER TO STAY grant, Ljunkull hopes to expand the contest to more cities and offer prizes to more winners. 

 ”I found that queer spaces [and] music blended super well together. It’s just a place where we can express ourselves. It’s not super comfortable to get vulnerable with people who are judging you,” Ljungkull said. “ Having a space that was just for us, providing exclusively queer people with cameras and lighting and rehearsal space and all the tools they need to create is, is our mission.” 

Anyone is welcome to become a patron of, or collaborate with Secret Spot DTLA. The space is viewable on their instagram page. Find out more about how to access the space and its resources on their website. 

‘Cher: The Memoir Part One’
By Cher
c.2024, Dey St.
$36/413 pages

Mother knows best.

At least that’s what she’d like you to think because she said it a hundred times while you were growing up, until you actually believed. One day, though, if you were lucky, you learned that Mother didn’t always know best, but she did her best – like in the new book “Cher: The Memoir Part One” by Cher, when Mom helped make a star.

Though she doesn’t remember it, little Cheryl Sarkisian spent a few weeks in a Catholic Charities orphanage when she was tiny, because her father had disappeared and her mother couldn’t afford to take care of her. “Cheryl,” by the way, was the name on her birth certificate, although her mother meant to name her “Cherilyn.”

That first time wasn’t the last time little Cher was left with someone other than her mother, Jackie Jean, a beautiful, talented struggling singer-actress who’d been born into poverty and stayed there much of her life. When money was tight, she temporarily dropped her daughter off with friends or family, or the little family moved from house to house and state to state. Along the way, relocating in and out of California gave Cher opportunities to act, sing, and to learn the art of performance, which is what she loved best.

In the meantime, Jackie Jean married and married again, five or six husbands in all; she changed her name to Georgia, worked in the movies and on TV, and she gave Cher a little sister, moved the family again, landed odd jobs, and did what it took to keep the lights on.

As Cher grew up in the shadow of her glamorous mother, she gained a bit of glam herself, becoming sassy and independent, and prone to separation anxiety, which she blamed on her abandonment as a small child. In her mother’s shadow, she’d always been surrounded by movie and TV stars and, taking acting classes, she met even more.

And then she met Salvatore “Sonny” Bono, who was a friend before he was a lover. So, here’s the very, very happy surprise: “Cher: The Memoir Part One” is a downright fun book to read.

If you’ve ever seen author Cher in interviews or on late night TV, what you saw is what you get here: bald-faced truth, sarcastic humor, sass, and no pity-partying. She tells a good story, ending this book with her nascent movie career, and she leaves readers hanging in anticipation of the stories she’ll tell in her next book.

The other happy surprise is that this memoir isn’t just about her. Cher spends a good amount of the first half writing about her mother and her grandmother, both complicated women who fought to keep their heads and those of their offspring above water. Readers looking between the lines will be enthralled.

Surely, “Cher: The Memoir Part One” is a fan’s delight, but it’s also a great memoir for anyone who particularly loves the genre and doesn’t mind a bit of profanity. If that’s you, then you got this, babe.

The Blade may receive commissions from qualifying purchases made via this post.

Nestled in the Wasatch Mountains of Utah, Park City is a gem for outdoor enthusiasts, history buffs, and those seeking a world-class dining and relaxation experience. Originally a silver mining town, it has evolved into one of the most popular destinations in the United States, offering not just world-class ski resorts and summer outdoor activities, but also a rich blend of culture, fine dining, and leisure. Whether you are planning a winter getaway, visiting the renowned Sundance Film Festival, or just a weekend escape, Park City offers something for everyone. Among the many things that make it a premier destination are events like the Park City Wine Fest.

Park City Wine Fest is a premier event that draws wine lovers from across the country. Held annually, this multi-day festival is a celebration of fine wines from around the globe, paired with the breathtaking backdrop of the mountains. The event is perfect for both wine connoisseurs and casual drinkers alike, offering something for every palate.

The Wine Fest is not just about tasting a wide variety of wines; it also showcases local cuisine, with restaurants and chefs from Park City presenting gourmet dishes that complement the wines. Wine education is another key aspect of the event, with seminars led by sommeliers, winemakers, and wine experts who share their knowledge on everything from pairing wine with food to understanding different wine regions.

The festival is a true highlight in Park City’s event calendar, combining the beauty of the location with a sophisticated, yet relaxed vibe. Attendees can explore a variety of experiences, including scenic mountain hikes paired with wine tastings, grand tastings at the base of Park City Mountain Resort, and intimate, wine-paired dinners, like the one I attended at the beautiful Waldorf Astoria. The Rustic Reds dinner was a wonderfully sophisticated wine-paired feast led by Wine Academy of Utah’s Jim Santangelo. The five-course meal began with a delicious amuse-bouche followed by beef tartare, endive salad, filet mignon and chocolate cake, each paired perfectly with a glass of wine hand selected by Santangelo.

For those who appreciate fine dining, Park City is home to a variety of outstanding restaurants, with Edge Steakhouse being one of the best. Located in the Westgate Park City Resort & Spa, Edge Steakhouse blends traditional steakhouse fare with an innovative approach to cooking. Known for its exceptional service, high-quality cuts of meat, and fresh seafood, this restaurant offers a dining experience that is both luxurious and satisfying.

What sets Edge Steakhouse apart is its attention to detail. The restaurant’s menu features a variety of cuts, from Wagyu beef to dry-aged steaks, all expertly prepared to perfection. Additionally, Edge offers an extensive wine list, making it easy to find the perfect pairing for your meal. The combination of excellent food, a sophisticated atmosphere, and top-notch service has earned Edge Steakhouse numerous awards and recognitions, making it a must-visit for any foodie in Park City.

No visit to Park City would be complete without a stop at High West Distillery, the first legally licensed distillery in Utah since Prohibition. High West offers a unique experience, blending the old-world charm of the American West with modern-day distilling techniques. Located in the heart of downtown Park City, High West is known for its award-winning whiskeys, but it’s also a fantastic place to grab a bite to eat.

High West’s rustic atmosphere is part of its charm, and the distillery offers a range of whiskey varieties, from smooth bourbons to bold ryes, all made using time-honored methods. In addition to tastings, visitors can take tours of the distillery to learn about the history of whiskey-making in Utah and the art of distillation. I had the chance to attend an elegant Woodland Masquerade at the distillery in Wanship, a quick 20-minute drive from Park City. The event contained entertainment, delicious food and of course whiskey.

Park City isn’t just about great food and drinks – it’s also a haven for those looking to relax and recharge. One of the standout lodging options in Park City is LIFT Park City, a modern mountain resort located in the heart of Canyons Village. LIFT offers luxury accommodations with a contemporary design, providing guests with all the comforts of home while being just steps away from world-class skiing, hiking, and biking trails.

LIFT Park City is designed with both relaxation and adventure in mind. The resort features spacious residences with fully equipped kitchens, private balconies, and stunning views of the mountains. Guests can enjoy the outdoor pool, fitness center, and other amenities that make it easy to unwind after a day of exploring.

Speaking of relaxing, after a day of outdoor activities, there’s no better way to unwind than with a visit to Serenity Spa. Located within the Westgate Park City Resort & Spa, Serenity Spa offers a wide range of treatments designed to soothe both body and mind. From massages and facials to body wraps and aromatherapy, the spa’s expert therapists provide personalized treatments that leave you feeling refreshed and rejuvenated.

The spa’s tranquil atmosphere is the perfect antidote to the stresses of everyday life. With its serene decor, calming scents, and peaceful music, Serenity Spa creates a truly relaxing environment where guests can escape from the hustle and bustle of the outside world. Whether you’re indulging in a full day of pampering or just popping in for a quick treatment, Serenity Spa offers a luxurious retreat that will leave you feeling revitalized.

For those seeking a cozy and casual dining experience, Cafe Terigo is a local favorite. This family-owned restaurant is known for its delicious Italian-inspired dishes, made with fresh, locally sourced ingredients. Located on Main Street in downtown Park City, Cafe Terigo has a charming, rustic atmosphere that makes it a perfect spot for a leisurely lunch or dinner.

The menu at Cafe Terigo features a variety of Italian and Mediterranean dishes, from wood-fired pizzas to house-made pastas. The restaurant is also known for its creative salads, seafood dishes, and delectable desserts. Whether you’re in the mood for a light bite or a hearty meal, Cafe Terigo’s menu offers something for everyone.

Park City is home to not one, but two gay ski weeks. The first, Elevation Utah takes place Feb. 19-23, 2025, and features Après-ski events, dance parties and casual meet-ups that draw attendees from around the country. Queer Ski will take place from March 18-25 and is a known to be more of a localized event drawing LGBTQ individuals from the region.

As my time in Park City came to an end, I couldn’t help but reflect on the town’s unique charm and diversity of experiences. From the adrenaline of skiing down powdery slopes to the peacefulness of a sunset hike, Park City captures the essence of adventure and tranquility in equal measure. The warmth of its local community, combined with its breathtaking natural beauty, makes this mountain town a place you’ll want to return to again and again.

Our final evening consisted of the Rarities & Reserves tasting at Red Pine Lodge. We had the chance to sample a wonderful selection of small-batch and boutique wines from around the country in the most wonderful setting, high atop a mountain. It was the perfect way to end a perfect trip discovering Park City. Whether you’re a ski enthusiast or a nature lover, Park City should be on your list of places to explore.

Enjoy the Journey!

If all you know about “Emilia Pérez” going into it is that it began life as the libretto for an opera, it might better prepare you than any mere description of its plot.

That’s because veteran French writer/director Jacques Audiard’s latest work (which premiered at Cannes in 2024 to a lengthy standing ovation and is now streaming on Netflix) is a larger-than-life affair fueled by yearning, passion, irony and fate. Its twists and turns might seem like outlandish melodrama but for its focus on the nuanced inner lives of its characters; that it accomplishes this focus through music – like opera – feels almost a mere coincidence of form, because the tale it unfolds would be as operatic as  “Tosca” even if there were not a single note of music on the soundtrack.

There is plenty of music, though. In fact, though it’s a movie for which the overused description “genre-defying” could easily have been invented, “Emilia Pérez” can safely be called a musical; it’s driven through songs by French avant garde vocalist Camille and a score by composer Clément Duco, performed onscreen by its cast and accompanied by visually stunning choreographed sequences by Damien Jalet throughout the story – and it’s quite a story.

Using a gifted but struggling lawyer – Rita (Zoe Saldaña) – as an entry point for the audience, Audiard takes us with her into the dark underworld of a Mexican drug empire when she is summoned to meet with a powerful cartel kingpin named “Manitas” (Karla Sofía Gascón), who is seeking a gender reassignment surgery and is both willing and able to pay her a life-changing sum of money to arrange it. It’s an offer she can’t refuse (yes, literally), and she succeeds in securing a doctor (Mark Inavir) who – after being convinced of the patient’s sincerity – agrees to do the job; she also handles the awkward business of convincing her employer’s wife Jessi (Selena Gomez) and their children of “his” death and moving them to Switzerland to protect them from former rivals who might target them.

That saga, which might easily be enough to fuel an entire film by itself, is only the first chapter of an epic journey which then jumps forward several years to find Rita surprised by the reappearance of Manitas – now comfortably living as the Emilia of the title – and her new desire to reunite with her children. She decides to help, beginning a genuine friendship with the former drug lord which eventually blossoms into a redemptive campaign to help the families of missing loved ones lost to cartel violence – even as the emotional baggage of a carefully-hidden past (and the ghosts of a former identity still struggling for dominance) begin to reassert themselves within the authentic new life Emilia has tried to build, threatening to drag both women down in a final, desperate power play that could cost them both their lives.

Almost literary in the grand scale of its ambition, “Emilia Pérez” packs so much into its narrative that it feels much longer than its two-and-a-quarter hour runtime – but not because it drags. On the contrary, its plot advances quickly, thanks in part to the powerful blend of musical and cinematic storytelling; it’s the richness and density of its emotional terrain, marked by both the dramatic landscapes of our primal urges and the delicate beauty of our noblest aspirations, that makes it seem epic, a sense of containing so much that it requires more space in our mind, perhaps, than it does time to convey it all. Audiard deftly uses broad strokes to heighten our experience, blending them with a feather-light touch that allows the subtleties of its “colors” to emerge with equal clarity, and draws on a mastery of the medium gained both from growing up as the son of a filmmaker and a nearly four-decade career behind the camera in his own right. The result is a near-kaleidoscopic modern-day fable – steeped in the dappled beauty of Paul Guilhaume’s cinematography – that remains firmly tethered to humanity, even as the story moves toward a denouement that feels almost mythic in stature.

While Audiard is undeniably the unifying force which allows “Emilia Pérez” to achieve its heights, it’s also a film whose success or failure hinges on its key performers – with the title role, in all its contradictory grandeur, standing out as the essential lynch pin. Gascón fills Emilia’s shoes magnificently, not only proving what is possible when a trans actor is allowed to bring the full authenticity of their lived experience to a trans character, but revealing a breathtaking talent that transcends the shallow irrelevance of gender distinctions when it comes to valuing an artist’s gifts. Already making history by earning Gascón the first Golden Globe nomination for a Best Leading Actress award, it’s a performance that feels like a landmark from her first appearance – as the pre-transition Manitas, a gold grille on his teeth and a coiled menace in his gruff-but-intelligent voice – and only enthralls us more as she takes the character through her epic journey.

Though she is the movie’s natural anchor, she’s joined by a trio of female co-stars that match her every step of the way. Saldaña, given top billing as the film’s biggest “name,” earns that distinction with an intelligent, vulnerable performance that showcases her own skills yet never threatens to overshadow Gascón’s, and Gomez steps confidently into her role while still projecting a nervous fragility that keeps the character from losing our empathy. Rounding out the ensemble is Adriana Paz, as a woman who opens up Emilia to the unexpected possibility of love in her life. Together, these four performers were awarded Best Actress Prize as an ensemble at Cannes, where the film also won the festival’s prestigious Grand Jury Prize.

Since that auspicious debut, “Emilia Pérez” has gathered numerous other accolades, becoming a staple on critics’ “Best of the Year” lists and looking more like an Academy Award hopeful every day – especially in light of its 10 nominations at the Golden Globes. Inevitably, that places its “transness” (both that of its story and of its leading lady) squarely into the public spotlight, since it will doubtless be a point of discussion come Oscar time.

As to that, it might be argued that Audiard’s film does not provide the most relatable trans representation by making its lead character a cartel boss, or that its story doesn’t really address issues of everyday trans experience – though we would counter that point by observing that one of the goals of queer inclusion in films is for queer characters to appear within stories that are not necessarily in themselves about being queer. In any case, there’s no denying that Gascón’s star turn is a breathtaking high point in trans visibility on the big screen, and mostly for its dedication to revealing Emilia’s layered humanity – something informed by her transness, to be sure, but not defined by it.

In any case, whether you come to “Emilia Pérez” for its transness or you don’t, it’s a refreshingly unorthodox piece of filmmaking that will leave you dazzled, and that matters more than all the awards in the world.

It’s time again for the Blade’s annual round-up of our favorite films of the year – and as always, we’re keeping our focus queer. We’ve loved movies like “Anora” and “The Brutalist,” and we appreciate the queer talent in inclusive titles like “Sing Sing,” “Emilia Perez,” and “Wicked,” but we’re limiting our choices to films that speak more directly to queer experience – which means most of the titles on our list are smaller movies that might have slipped under your radar.

Fortunately, we’re here to fill you in on the ones you missed.

#10 Cora Bora. Landing at No. 10on the list is a comedy-of-awkwardness, this time focused on a bisexual musician (Meg Stalter) whose faltering bid for success in Los Angeles prompts her to return to her native Portland and attempt to reconcile with the longtime girlfriend she left behind. Stalter infuses the clueless self-absorption of her character with a subtext that wins our hearts before we even know the backstory which illuminates it, and the overall tone of compassion that director Hannah Pearl Utt drives home a healing sense of “meeting people where they are” that makes us think twice about judging even the most insufferable among us.

#9 Big Boys. Equal parts bittersweet coming-of-age story and uncomfortable-yet-endearing comedy, this festival-circuit fave from filmmaker Corey Sherman strikes gold with an eminently relatable narrative about the awkwardness of burgeoning sexuality and a winning performance from young star Isaac Krasner, as a plus-size young teen who develops a crush on his female cousin’s hunky-and-bearish new boyfriend (David Johnson III) during a camping trip. Funny, poignant, and yes, heartwarming, it’s a much-needed look at the difficulties of navigating the transition to adulthood while also struggling with issues of body-positivity and sexual identity.

#8 National Anthem. Though it garnered little attention during its brief theatrical release, this indie debut feature from Luke Gilford deserves due attention for its remarkably jubilant story of a young day laborer (Charlie Plummer) who takes on a job at a ranch run by queer rodeo performers, including Sky (Eve Lindley), a captivating trans girl who stirs feelings he’s kept hidden at home. An open-hearted coming-of-age story, with an optimistic attitude toward acceptance, love, and finding one’s “people,” it’s a welcome must-see in a time marked by conflict and divisive thinking.

#7 Love Lies Bleeding. A throwback to ‘90s lesbian neo-noir, this stylized thriller from director Rose Glass stars Kristen Stewart as the estranged daughter of a small-town crime boss (Ed Harris) whose romance with an aspiring female bodybuilder puts them both in her ruthless daddy’s crosshairs. Pulpy, violent, and unapologetically amoral, it’s both an exercise in neon-tinged period style and a loopy-but-suspenseful thrill ride that keeps you on the edge of your seat even through its most absurd moments.

#6 The People’s Joker. Trans filmmaker Vera Drew wrote, directed, and stars in this off-the-beaten-path triumph that amusingly asserts itself as a parody in no way associated with any “official” comic book franchise – even though it takes place in an alternate, dystopian America where Batman is the president, comedy is regulated by the government, and a trans comedian named “Joker” is attempting to disrupt the system by organizing a band of outsider comics into an illegal comedy troupe. Ingeniously creative with its low-budget resources, it inverts all the revered comic book tropes and spoofs them through a radical trans/feminist lens — which may explain why it never played at your local multiplex — in a way that manages to be as hilarious as it is militant. 

#5 Problemista. If there’s any queer creative talent that’s exerted a unique mark on the contemporary cultural landscape, it’s that of Julio Torres; this oddly conceived riff on the “buddy comedy” – his feature filmmaking debut – is a quintessential example of its fey magic. Centered on a young Salvadoran immigrant (Torres) with dreams of becoming a toy designer and his unlikely alliance with an art-world outcast trying to manage the estate of her cryogenically frozen husband (Tilda Swinton), it’s a “Devil Wears Prada” style coming-of-age tale about mentorship that simultaneously skewers the lunacies of modern American society and encourages us to look beyond each others’ surfaces to discover who we really are – a delicate balancing act which Torres pulls off perfectly, with invaluable help from a deliciously over-the-top performance by co-star Swinton.

#4 Femme. This sexy revenge fantasy from the UK, helmed by first-time feature directors Sam H. Freeman and Ng Choon Ping, centers on a London drag queen (Nathan Stewart-Jarrett) who undertakes a dangerous plot to “out” his attacker in a gay bashing incident (George MacKay) after encountering him in a gay sauna – only to find himself becoming entangled in a secretive relationship with him. With a title that hints at the pressures of “passing” in a homophobic world, and a convincing pair of performances to sell its premise, it’s an unexpectedly powerful (and transgressively romantic) thriller about the conflict between empathy and hate.

#3 Housekeeping for Beginners. Our third spot goes to this rich ensemble piece from the Republic of North Macedonia and rising filmmaker Goran Stolevski, which explores and celebrates the true meaning of “family” through the saga of a lesbian who agrees to adopt her terminally ill partner’s teen children, and then has to make good on the promise with the help of a household full of disparate outsiders she has collected around her. It transcends genre, blending social commentary with slice-of-life intimacy for a multi-faceted tale of queer resilience, and scores extra points for examining prejudicial attitudes around the “other-ized” Romani community in Central Europe.

#2 I Saw the TV Glow. Nonbinary writer/director Jane Schoenbrun takes an even more surrealistic approach with this unsettling horror tale in which a sensitive teen boy bonds with an older lesbian classmate over a bizarre late-night TV series – “The Pink Opaque,” about a pair of psychic twins who fight monsters together from opposite sides of the world, which goes on to have an unexpected impact on their lives. It’s difficult to explain the plot, really, but that scarcely matters; in the eerie, dream-like world it inhabits, memory, perception, and reality are interchangeable enough that it somehow all makes sense – and a metaphoric subtext emerges to build an obvious allegory about the mind-altering influence of pop media, the erasure of Queer history, and the crippling impact of cultural transphobia. The ending will haunt you forever.

#1 Queer. Topping our list is Luca Guadagnino’s lush big screen adaptation of William S. Burroughs’s semi-autobiographical novella, in which Daniel Craig is flawless as an American expatriate falling hard for a much younger man in the hedonistic haze of 1950s Mexico City. Raw and impressionistic, with frequent flourishes of surrealism and an overall tone of melancholy, it’s hardly a crowd-pleaser. But its fearless intensity and unwavering authenticity are palpable enough to burn – and we’re not just talking about the much-publicized sex scenes between Craig and co-star Drew Starkey, who also turns in an excellent performance. It’s a film of sheer cinematic beauty, a hallucinatory journey that touches human experience at its most intimate and essential level, with a career-defining star turn to anchor it.

Reflecting on a year in queer entertainment is never one dimensional. You get stories of joy, hate, and everything in between.

And 2024 was no different. For every Chappell Roan, you get a J.K. Rowling. But looking back on this year is vital in recognizing what progress was made in LGBTQ spaces, and which areas need more attention to make a better 2025.

Though there are no 10 stories that are truly “the most important,” here are some events that represented the good, the bad, and the gloriously gay this year.

#10: Joaquin Phoenix abruptly exits gay film: “Joker” star Joaquin Phoenix reportedly exited a gay romance film days before production was set to begin, stirring up a controversial storm in Hollywood.

Sets were built and distribution deals were already made, which left many owed compensation. 

Described as a detective love story featuring two men in the 1930s, the film was allegedly made to receive an NC-17 rating and to feature authentic and graphic sex scenes.

#9: Adele snaps back at homophobic fan:What better way to kick off Pride month this year than Adele publicly humiliating a fan who shouted a homophobic comment?

The singer was performing her Las Vegas residency show when an audience member shouted, “Pride sucks.” Her response was appropriately filled with profanities. 

“Did you come to my fucking show to say Pride sucks? Are you fucking stupid?” Adele said. “Don’t be so fucking ridiculous. If you have nothing nice to say, shut up, alright?”

A video of the interaction went viral online, and fans rallied on social media to show their support of the singer.

#8: Oprah receives GLAAD recognition: Oprah Winfrey received the GLAAD Lifetime Achievement Award in March. It was a culmination of her strong history of support for the LGBTQ community.

Winfrey used her platform on her self-titled show to raise awareness of HIV/AIDS and LGBTQ bias and hold open discussions to challenge stereotypes and promote acceptance.

“Winfrey’s unique blend of empathy, wisdom, and storytelling resonated with audiences, making her one of the most beloved and influential figures in media history,” Los Angeles Blade publisher Troy Masters wrote.

#7: A new ‘Voice’:NBC’s hit singing competition, ‘The Voice,’ crowned its first LGBTQ winner after 25 seasons.

Asher HaVon, who performed on team Reba McEntire, became a staple on the show for his hypnotic and rich tone. From Selma, Ala., HaVon also represents the fight for equality. 

When former President Barack Obama visited Selma in 2015, HaVon sang for him and 200,000 other people at the historic Selma Bridge crossing.

“For the rest of us, in the LGBTQ community, in the dance clubs, and in the hearts of ones needing a new diva to love, Asher has arrived,” Los Angeles Blade reporter Rob Watson wrote in May.

#6: Out and proud: Many notable celebrities came out this year, including country singer Maren Morris, track star Trey Cunningham, actor Julia Fox and former “Saturday Night Live” star Sasheer Zamata. From sports stars to country idols, these icons are paving the way for LGBTQ visibility in underrepresented entertainment spaces.

#5: Defying box office charts: Jon M. Chu’s “Wicked” is ‘Popular’ with audiences, to say the least.

Roughly one week into its box office run, it became the biggest-grossing movie based on a Broadway musical in North America. It beat previous smashes like “Grease” and “Mamma Mia!” Beyond providing audiences with a faithful yet unique adaptation of the popular book and play, it also gave us numerous viral interviews between its two leading ladies, Ariana Grande and Cynthia Erivo, as well as a plethora of fan cams gushing over out actor Jonathan Bailey.

Your move, “Wicked: Part Two.”

#4: Emmys and Grammys and Tonys, oh my!: It was a historic year for queer representation at the biggest nights in entertainment. Jodie Foster collected her first Emmy for her role in “True Detective: Night Country,” while Jonathan Groff accepted his first Tony for his role in “Merrily We Roll Along.”

The Grammys were huge for women and queer artists, recognizing performers like Billie Eilish, SZA, Miley Cyrus, and Victoria Monet. It was a much different story than in 2018, when Grammy organizers responded to a lack of female recognition by telling women to “step up.” 

#3: Misinformation fuels hate at Olympics: Olympic boxer Imane Khelif was the center of right-wing rage during this summer’s Paris games after many prominent celebrities and personalities said she is transgender. Khelif has differences of sex development (DSD), which is a group of rare conditions that causes one’s sex development to differ from most others. Women with DSD can have both an X and Y chromosome, which is typically only found in men, but it doesn’t make one transgender or intersex.

The facts didn’t matter to public figures like J.K. Rowling and Elon Musk, who were mentioned in a cyber harassment lawsuit after spreading misinformation online about Khelif’s identity. Rowling labeled Khelif a “male” on X, while others called for Khelif to be banned from competing. This outcry over false claims about her identity overshadowed her gold medal win.

#2: The rise, not fall, of a Midwest princess: It was a stellar year for women and queer performers, headlined by Chappell Roan’s rapid ascension to fame. The singer drew global recognition with notable hits like “HOT TO GO!” and “Good Luck, Babe!”. 

More importantly, as a member of the community herself, fame never got in the way of her pro-LGBTQ messaging. She dedicated her Best New Artist VMA win to the “queer youth in the Midwest.” Roan, who’s from Missouri, also used her platform to support the art of drag. She enlisted local drag queens to open her shows this year, and gained instant approval when paraphrasing Sasha Colby’s famous saying: “I’m your favorite drag queen’s favorite drag queen.”

#1 Ryan Murphy strikes controversial gold again: The ethical implications of “Monsters: The Lyle and Erik Menendez Story” were hotly debated when it debuted on Netflix in September.

Some loved the show’s aesthetic and its gripping portrayal of the two brothers who killed their parents in 1989. Others criticized it for its flimsy factual representation and glorification of murder through its two overly attractive leads. Whatever your opinion, there’s no denying the show’s impact, which sparked a national debate over releasing the brothers from prison early. With LA electing a new district attorney in November, the push for an early release remains in the headlines and a strong possibility.

Regardless of your opinion of the show, there’s no denying the cultural impact it sparked. Out creator Ryan Murphy isn’t new to producing shows that divide people while generating ratings. The first installment of the “Monster” anthology, centered on Jeffrey Dahmer, was a huge hit despite facing intense scrutiny for similar creative decisions.

As Tammy Wynette once sang, sometimes it’s hard to be a woman.

That iconic understatement might easily serve as the thesis statement for “Nightbitch,” the new horror-tinged offering from writer/director Marielle Heller. Yet while Wynette was lamenting the hardships of staying loyal to a partner, Heller is more interested in the hardships of staying loyal to one’s self – and takes on a rarely aired perspective on an even more quintessential feminine experience.

We’re speaking, naturally, of Motherhood, considered a definitive part of female identity ever since there have been women. Cloaked in sacrosanct reverence due to its association with the traditional imperative to “preserve the species,” it’s often seen as a rite of passage that illuminates and reinforces the traditional role of women as “givers of life,” and usually characterized as demanding deep personal sacrifice — the sublimation of oneself for the sake of another (who, in the words of Heller’s protagonist, would “pee in your face without blinking”) in obedient servitude to the greater good.

Before you start clutching your pearls (“How DARE you suggest that being a mother is anything less than a blessing?!”), we’re not knocking motherhood; nor are we suggesting that children are life-sucking demons who exist only to torment us and disrupt every facet of our lives until we feel enslaved by them. Neither, in fact, is Heller’s movie, despite the clucking of anti-“woke” commentators who have tried to dismiss it as feminist propaganda.

Indeed, “Nightbitch” is very much cognizant of “walking the line” when it comes to its inarguably challenging meditation on the demands of being a mother, though it dares to transgress societal dogma around the subject nonetheless. Based on the 2021 novel of the same name by Rachel Yoder, it’s the story of a woman (Amy Adams) who has “paused” her promising career as an artist to be a stay-at-home mom so that her husband (Scoot McNairy) can focus his energies on the job that keeps him away in the city for five days – and nights – out of every week. Rigidly defined by banal routine, her daily life is dominated by serving the needs of their child (Arleigh and Emmett Snowden, dual-cast twins in a single role), and weekend reunions with his dad seem only to reinforce the disconnectedness in their relationship, not to mention their parallel-but-discordant understanding of what it means to be a parent, a partner, and a person, all at the same time.

The situation is bad enough as it is when we meet her, an endless loop of sleepless nights, repetitive feeding rituals, and putting on her bravest face around the implausibly perfect other moms who congregate around her with their toddlers for storytime sing-alongs at the library. Things start to take an even more depressing turn for her, however, when she begins to notice strange physical anomalies – new and oddly located patches of hair, a heightened sense of smell, an increased appetite – taking place in her body. Though she at first shrugs them off, these changes soon escalate to include uncontrollable outbursts of aggression, resurfacing memories of her childhood and her own mother, and recurring dreams of nocturnal runs with the neighborhood dogs, who in waking life have become inexplicably drawn to her. Recognizing that these new developments might threaten the already delicate balance of her domestic status quo, she decides to seek answers – and discovers an arcane and disturbing secret history that stretches back across generations of mothers before her.

Hinged on a premise that naturally points in that direction, “Nightbitch” is handled by Heller as if it were a horror film – which, to a certain extent, it is – and unfolds through a carefully stacked progression of generic tropes as blatantly as any “Friday the 13th” sequel. Yet while certain moments do provide us with unexpected jolts and the gross-out “body horror” elements definitely strike notes of revulsion, it operates in a manner that more closely resembles a dark satirical comedy flavored with magical realism. Adams’s character (billed simply as “Mother”) accepts these alarming changes with as much detached resignation as she does the rigors of rearing her child, but her narrative moves definitively into action when she decides to embrace what is happening to her, drawing inspiration from the wilder self that is pressing from within to make bolder, more instinctual choices.

Ultimately, of course, the film’s lycanthrop-ish trappings serve as a metaphor for an inner beast kept caged inside that clamors to be unleashed. Its central character – who, as we see in flashback memories, was raised in what many would call an “extreme” conservative environment – has built an entire self-actualized life and abandoned it, over a traditionalist sense of duty, for something that feels like an existence of endless servitude. Why wouldn’t she feel the need to assert her natural autonomy?

And yes, there’s an obvious feminist message that emerges as “Nightbitch” lopes toward its denouement, yet while it mercilessly explores the grueling side of child-rearing and throws subtextual shade at the patriarchal attitudes that make the experience even harder, it works to reconcile all those seemingly dissonant viewpoints and reinforce the notion that being a mother is a path to self-actualization.

Heller keeps the root of the Mother’s strange transformation enigmatic, but her film could not be clearer about its purpose: spurring her protagonist to reclaim her autonomy, and to forge a balance between her roles as an empowered woman, a selfless mother, and an artist with the potential to reconcile them all into one. If, that is, she can keep herself from going feral.

Adams, whose talent as an actress has often been underappreciated despite critical acclaim and multiple industry accolades, shines here in a way she’s previously never been allowed, taking on a glamourless yet compelling role and embodying it without reservation or ego. Her character walks a razor’s edge of likability, but she brings the kind of truth to her performance that keeps us on her side. In a similar fashion, Scoot McNairy (billed as “Husband”) manages to represent “The Patriarchy” yet also surprise us with his adaptability and empathy; together, they embody a couple we are somehow happy to root for, whose relationship – like all relationships – is a work-in-progress. The ‘70s cult cinema icon Jessica Harper also makes a significant impression as a vaguely “witchy” librarian who facilitates Adams’s quest for knowledge.

The quality of these performances – and Heller’s meticulous crafting of the film, which mostly keeps its supernatural elements in the nebulous realm between real life and imagination, though there are some legitimately disturbing moments – help to push “Nightbitch” beyond its genre pretensions and use it to express feelings that will doubtless be familiar to millions of woman, yet rarely explored onscreen. Viewers looking for horror might see this as a “bait-and-switch,” but it’s this frankness that distinguishes it, especially in a time when women might well be facing the real horror of a future without bodily autonomy.

If that’s not enough to make it one of the season’s essential films to see, then it should be.

‘I’ll Get Back to You’
By Becca Grischow
c.2024, Penguin Books
$19/320 pages

Christmas tree lots, ugh. Santa, New England, snowflakes, mistletoe, blah blah blah.

The cable TV lineup is full of that stuff this time of year but it’s nowhere near as magical as Hollywood wants you to believe. Honestly, thinking of romance (or the lack thereof) right now is almost enough to bring out your humbug. Get this, though: There’s plenty of romance to go around this Yuletide, but in “I’ll Get Back to You” by Becca Grischow, it might take some planning to find it.

It was supposed to be a great dual-birthday celebration.

Murphy and her BFF, Kat, were planning a “Blackout Wednesday” of drinking and debauchery, followed by a sleepover and snacks at Murphy’s house before they went to Kat’s parents’ place for Thanksgiving. That was the plan, until Kat ruined it by bringing her new boyfriend, Daniel, along and assuming that Murphy wouldn’t mind.

Murphy minded very much. She hated being the gay third wheel, and it was doubly annoying when they all ran into Ellie, who’d graduated a few years before Kat and Murphy.

Wait, Ellie was straight in high school, wasn’t she? Well, she wasn’t now and when Ellie, Kat, and Daniel started comparing notes about attending the University of Illinois, it was all Murphy could do not to roll her eyes.

She wasn’t feeling this holiday thing. She was feeling kind of loser-ish, in fact: still living in her childhood bedroom in her parents’ house, working a job she’d had since she was 16, still at community college and failing accounting.

And, apparently, failing at love, too, because Ellie told Murphy that they could be friends, and that was all. But when Murphy realized that Ellie’s mother was the professor who was about to fail her in accounting class, Ellie came up with a plan.

If they could pretend to have a relationship, then maybe Ellie’s mother would grant Ellie her dream of attending college in New York City. And maybe she’d “play favorites” and give Murphy a passing grade.

It was a weird plan. Super weird. 

Alright, let’s just admit this: A book like “I’ll Get Back to You” isn’t going to change the world or influence people in high places. It’s probably not going to land on the bestseller list. It’s just a light, fun little story – and isn’t that what you need during the holiday season?

With your typical girl-meets-girl, struggle-and-argument, wacky-plan-happy-ending format, author Becca Grischow tells a tale of friendship and romance and growing into the place in life that’s meant to be, which is a good but subtle reminder for some readers who need it. Grischow gives readers a cast of characters who are kind but authentic, fallible but trustworthy, and mostly pretty likable, too, which makes this an easy book to enjoy at just the right time.

If you haven’t found your holiday romance for the season yet, here’s one to look for beneath the mistletoe. Find “I’ll Get Back to You” and you’ll like it a lot.