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After an incident at his college in the rural American South, young Jared Eamons is forced to come out to his loving parents, Marshall (Russell Crowe) and Nancy (Nicole Kidman). The talented young actor projects the same ingenuous bewilderment he brought to his role as Saoirse Ronan's first love in last year's Lady Bird. Both films are about the vulnerability of teens whose parents willingly consign them to the "care" of dubiously qualified saviors lugging their own unexamined baggage of guilt and self-loathing.īoy Erased is also Lucas Hedges' second turn as a teenaged boy who's uncertain of his sexual identity.
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That said, neither film lets parents or their substitutes off the hook for seeking to radically alter and deny who their charges are, just because the elders are convinced the Bible tells them so. What's interesting is that neither film shakes an accusing finger at the parents or, for that matter, at Christian belief per se. Both films are worth your time both, in their way, are intelligent message movies that refuse to hide their outrage at a repressive practice that, as a coda before the Boy Erased end credits informs, 36 American states still allow.
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The reason why it’s important to make sure positive elements of LGBT life is represented more often in movies is because persistently focusing on the negative will only reinforce the idea that LGBT stories are somehow lesser than, and that’s a view point we as a society need to change.Xavier (Theodore Pellerin) and Jared (Lucas Hedges) share a fleeting moment of intimacy in the gay-conversion-therapy drama Boy Erased.īased on a 2016 memoir by Garrard Conley, Boy Erased is the second movie this year - after last August's The Miseducation of Cameron Post - to focus on so-called gay conversion therapy centers, where LGBTQ teens are sent to be, as their mostly evangelical parents see it, straightened out.
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Many would argue against this notion by pointing out that many heterosexual love stories also include sad or tragic endings – but this point of view becomes unfounded when considering the sheer amount of straight love stories that have been told throughout cinema history compared to LGBT. The issue is that there simply aren’t enough of the positive stories out there.
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Many recent releases including Moonlight have been cinematic triumphs and widely celebrated within the movie industry. It should also be made clear that this acknowledgement of LGBT movie stereotypes is not to say the stories that happen to be sad or end on a depressing note are deprived of their quality. Ultimately, the most plausible reason for those tragic endings could be down to the personal experiences of the people behind the story.ĭue to centuries of discrimination against LGBT people in society, it’s common for LGBT people to have suffered some form of discrimination or sadness in their lives, so it’s not surprising that their personal experiences may filter into their storytelling.Īs society becomes more and more comfortable with LGBT people and their relationships, the films that aim to tell LGBT stories will most likely become more and more positive – especially after so many countries made same sex marriage legal in recent years, which for some has arguably been one of the biggest ever victories for the LGBT community.Īn example of positive LGBT storytelling is the BAFTA-nominated film God’s Own Country, which depicts the story of a gay relationship without pandering to negative themes. This isn’t to say that any movie which is largely LGBT can’t have creative input from heterosexual actors and directors, but it’s worth asking how the dominance of non-LGBT influence in gay cinema has affected the way in which the stories are told. Climate change, school shootings and war: the trans community always gets the blame