By Gary M. Kramer Frantz, by gay French filmmaker François Ozon, is a black and white costume drama, set in 1919 Germany. A loose remake of the Ernst Lubitsch drama…
By Gary M. Kramer The fight for gay marriage was a long and hard won battle. While the outcome is common knowledge, how marriage equality happened step-by-step is less well…
By Gary M. Kramer The 2017 Academy Awards are this weekend. But who will win, and who should win? Here are some educated guesses. Best Picture Nominees: Arrival, Fences, Hacksaw…
By Gary M. Kramer The Mostly British Film Festival, unspooling February 16–23 at the Vogue Theater, 3290 Sacramento Street, in San Francisco, showcases a number of films by gay directors,…
By Gary M. Kramer Raoul Peck’s rousing, provocative documentary, I Am Not Your Negro, opening February 3 in San Francisco, is a tone poem and a clarion call. This urgent,…
By Gary M. Kramer Julieta, which opened last week in San Francisco, has the often-outrageous gay filmmaker Pedro Almodóvar working in a more restrained mode. This drama, based on three…
By Gary M. Kramer The year in queer film 2016 had both notable achievements—Barry Jenkins’ Moonlight, about three stages in the life of an African American man, chief among them—and…
By Gary Krammer Closet Monster, opening December 2 in San Francisco, is a fantastic—as in great, as in surreal—Canadian film about Oscar (Connor Jessup), a confused teenager who confides his…
In writer/director Tim Kirkman’s poignant, romantic drama Lazy Eye, recently released on DVD, Dean (Lucas Near-Verbrugghe) is a Los Angeles-based graphic designer with the titular ocular problem. One day, out…
Anna Biller wrote, directed, edited, produced, art directed, designed the sets and costumes and even composed the music for The Love Witch, opening November 11 at the San Francisco Landmark…
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