Michael Koresky

William Wyler’s adaptation of the Broadway musical celebrates the indomitability of vaudeville legend Fanny Brice, embodied by Barbra Streisand in an incandescent and remarkably vulnerable performance.

A work of pure, rigorous enchantment, the final film in Terry Gilliam’s “Trilogy of Imagination” employs old-fashioned technical wizardry to bring about its wall-to-wall visual astonishments.

Both crowd-pleasing and gleefully subversive, Blake Edwards’s 1982 hit Victor/Victoria remains one of the few Hollywood musicals that explicitly depicts queer life.

The differences between William Wyler’s two film versions of the play The Children’s Hour reveal the challenges of representing same-sex desire in Hollywood cinema.

A searing melodrama that lays bare the trauma wrought by white supremacy and privilege, Thomas Vinterberg’s second feature kick-started the Dogme 95 movement.

In the landscape of gay-themed cinema, which often focuses on positivity and pride, The Delta stands out for asking unsettling questions about the limits of queer connection across socioeconomic and racial divides.

This touchstone of nineties independent filmmaking is a reminder that true queer cinema is about taking risks and breaking taboos—an increasingly rare thing in our corporatized entertainment culture.

In Albert Lewin’s cagey adaptation of The Picture of Dorian Gray, homosexuality is viewed as it was in much of classical Hollywood cinema: as an eerie monstrosity.

A racist, traditionally desexualized archetype from classic Hollywood gets queered and eroticized in Cheryl Dunye’s indie landmark The Watermelon Woman, now playing on the Criterion Channel.

Whether sublimated or made explicit, that longing feeling so specific to the queer experience has always existed in the movies. A new series on the Criterion Channel dives into this richly layered but long-suppressed cinematic history.

With megawatt performers in front of the camera and remarkable talent behind the scenes, the golden-age MGM musical became Hollywood’s most utopian expression of joy.

Now playing on the Criterion Channel, Christopher Munch’s New Queer Cinema landmark The Hours and Times excavates a gay fantasy from the annals of Fab Four lore.

The Platters’ impassioned rendition of the pop chestnut “Smoke Gets in Your Eyes” highlights the irrevocable loss in Andrew Haigh’s marriage drama.

Rainer Werner Fassbinder plays a working-class gay man hoodwinked by his uppity bourgeois lover in this unsparing portrait of queer culture in 1970s West Germany.

In Phoenix, Christian Petzold sets his nuanced melodrama of postwar German-Jewish identity within a starkly realist aesthetic, making newly fascinating use of his enduring interest in the tensions between the real and the artificial.

Julien Duvivier’s early sound films offer emotionally rich explorations of life in prewar France.

Brian De Palma magnifies the pleasures and perils of Hitchcock and toys with the viewer’s spectatorship in his sly and scary horror masterpiece.

The films Agnès Varda made while living on the West Coast of the United States are some of the most searching and challenging of her stellar career.

Atypical in style and subject, Yasujiro Ozu’s early crime dramas show a

future master brilliantly experimenting with camera and editing.

Who is Tootsie, anyway?

The prolific and popular Keisuke Kinoshita made his fascinating first movies at a time of great difficulty and censorship, yet their spirit and brilliance shine through.