In my personal canon of films used to scope out how far a new friend is willing to indulge my rotted taste, Adore sits comfortably in the top five.
PositionContributing Editor
JoinedJanuary 16, 2019
Articles7
Spencer Williams is currently an MFA candidate at Rutgers University - Newark, and is the author of Alien Pink (TAR Chapbook Series, 2017). Her writing has appeared in IndieWire, Hobart,and [PANK], and her first documentary short "The Only Out: A Short Reflection on an Untidy Closet" has screened at the 2018 Fotofocus Biennial and the 2017 Milwaukee LGBT Film Festival. She tweets mostly nonsense @burritotheif.
To view Body of Evidence through the lens of Camp is to acknowledge the film’s aesthetic merits despite its emotional ineptitude.
How do you begin to tackle the subject which has overthrown any semblance of normalcy in your life? How do you begin to write into that monster which has grown tall enough to lock you in its shadow indefinitely?
While Lynn Shelton’s Touchy Feely is interested in its characters quirky dynamics and arrested developments, the film is moreso about the destabilizing force of contact.
Lynn Shelton’s camera in Humpday is a scalpel, opening the flesh of male-on-male anxiety with precision and nuance.
Though I wouldn’t come out as a trans woman for another four years, Laurence Anyways felt like a map to the puzzle that was my body, a dysphoric labyrinth of ill-fitting limbs and inarticulate desires.
As much as The Miseducation of Cameron Post is about finding salvation within one’s self, it is also about finding hope and protection in the arms of a chosen family.
