Vi avevo promesso un mio pezzo di stand up comedy ed eccolo qui.
Risale ad un po' di tempo fa quindi siate clementɜ.
queerness
Goonie: Poetry Extravaganza with Michael Mullen & Friends
20 June, Lighthouse Books, Edinburgh. £0–£10.99
Exploring queerness through fierce lyrical poetry & celebrating Scotland through vernacular vignettes, GOONIE is Michael Mullen’s debut collection
https://lighthousebookshop.com/events/goonie-poetry-extravaganza-with-michael-mullen-and-friends
#Scottish #literature #poetry #queer #queerness #Scotland #Scots #Scotslanguage
Queerness in Scotland has always existed, hidden in medieval manuscripts, coded in Jacobite poetry, or expressed through the arts. In the first of a 3-part series, the National Galleries of Scotland explores queer artforms & artists from Scotland, past & present
https://www.youtube.com/watch?v=HKBCxUmPBho
#Scottish #literature #poetry #art #manuscripts #medieval #18thcentury #history #jacobites #queerhistory #queerness #Pride #PrideDay #InternationalPrideDay #LGBTQ
Rated Loev 6/10
There's something incredibly shocking about being confronted with the passing of the actor playing a character you feel you know--that you feel is you in some ways. LOEV captures with piercingly uncomfortable awareness the conditional topology of love--its ebbs and flows, crests and troughs--and shows that it is in many ways not some abstract and external thing that one can possess, have, or own, but is a thing that each of us births and shapes, something whose definition changes when how we feel about ourselves--who we believe ourselves to be and what we believe others should feel about our actions--changes.Director Sudhanshu Saria displaces us in much the same way queerness disrupts and dislocates by intentionally avoiding characterization through outright description of his cast. What his characters do to and for each other, it appears, is more important than who they appear to be. The result is a layered film that relies primarily on touch and gesture as it depicts its two leads, jet-setting businessman Jai (Shiv Pandit) and musically timid Sahil (the late Dhruv Ganesh), attempting to find meaning in a relationship engraved with uncertainties of time and feeling.What the film does right is set up its premise: a brief weekend reunion between two men that could be (and seem to want to be) lovers. The problem is that neither has yet figured out how to bridge the gap between the realities of their attractions and the fancies of their imaginations. In this the film reveals through slow, almost stately plotting in its first third that a certain kind of projection or self-deception is required for love. Jai seems to be attracted not to Sahil, per se, but to his carefree nature and flights of whimsy, Sahil to Jai's order, gravity, and discipline. Along the way there's a great deal of bumbling around as both try to exist beyond their constructed facades and embrace their vulnerabilities and each other. All is well until it isn't, until whimsy intrudes on order and gravity steals what once held boundless inertia. The fantastical decelerates; reality sets in.There is a scene in this film that is unquestionably a rape scene. This is unique not only because many films feature or position rape as a source of transformation (particularly for female or feminized subjects), but because precious few situate rape within the context of a relationship or as an example of intimate partner violence (IPV). Fewer queer films acknowledge it at all. In a film whose structure and timetable suggests a conventional drama akin to Andrew Haigh's WEEKEND, it's significant that the film dares us to empathize with both the brutal and brutalized. In doing so it asks us to confront and think about violence and its continuities. Is the violence "intimate" or domestic if neither person lives with the other? If the best either can utter is "I like you" defensively? If neither person fits neatly into the expansive vagueness of "partner"? And then, most importantly: how and why do we participate in and enact similar violences, of vagueness and noncommunication?That a film can be this personal and metaphysical with the thinnest of plot set-ups is honestly invigorating. And it mostly succeeds thanks in no small part to the chemistry of Ganesh and Pandit. Where it falters, however, is in writing that in many cases--particularly with side characters--feels like it exists as filler. One might also see problems in its narrative turns in the third act, which feel reasonable, but which are not set up properly or which result in conclusions that are not entirely earned because it isn't clear what characters value and what motivates them. This lack of definition undermines some of the film's credibility. With that being said, I found myself appreciating the film's subtler moments and even its musical ones (the song running over the credits is particularly beautiful). The film makes legible the difficulties of translating feeling (attraction) and action (violence) into something intelligible. What we get is a story of love told through violation and shattering, that survives battering and fragmentation. We get LOEV.
Edited 37d ago
Positive Begegnungen 2026 Demonstration in Magdeburg.
Gemeinsam gegen Hass!
Solidarität statt Spaltung!
Zusammen gegen gruppenbezogene Menschenfeindlichkeit.
AIDS beenden ist möglich. Gemeinsam dranbleiben!
#aids #antisemitismus #auslanderhass #behindertenfeindlichkeit #hiv #homophobie #intoleranz #islamophobie #lgbtqia #loveislove #md1608 #mysogynie #ngleichn #sexismus #solidaritat #rassismus #russophobie #transfeindlichkeit #queer #queerness #queerfeindlichkeit #uequalsu #vielfalt
Edited 46d ago
Rated The Skinny 3/10
I was glad that at least one character acknowledged that what happened to Sebastian (Blake Young-Fountain) was, in fact, a rape. I even found the PSA moments a tad endearing (if a little lengthy), but it is hard to square this film with the likes of <a href="https://letterboxd.com/film/pariah/"><i>Pariah</i></a>, a far better film (certainly in terms of cinematography) that also deals with sexual awakenings and "firsts" and one that treats its lesbian characters with respect, even reverence--one that precedes <i>The Skinny</i> by a year. Make no mistake this film is a much-needed depiction of black queer vibrancy and normality, but it can't help but be myopic, focusing as it does on the lives of the relatively class advantaged. If there is a commentary on this that the film offers, it does so almost as a throwaway, when we finally come to understand some of the background of the character Kyle (Dustin Ross). Of course it's through dialogue, and of course it's mostly a response (or justification) for why Jussie Smollett's Magnus cheats, but it is there if you squint at high noon. Smollett is very clearly the lead throughout the film though the structure isn't one that really allows him to shine, vacillating as it does between its cast of characters and their relationships. He is assisted in small part through this dilemma by the charismatic Joey (Jeffery Bowyer-Chapman) and the accented earnestness of Langston (Shanika Warren-Markland), but the smaller, quieter film focused just on <i>his</i> journey through pain would perhaps have been more resonant, more effective, and more interesting. I don't think it can or should be ignored that <i>The Skinny</i> catalyzed a resurgent interest in queer Black narratives and engendered dozens of webseries, but for all of its charms--an ensemble featuring Wilson Cruz and Seth Gilliam, and its tastefully lit and composed sex scenes--it is thin on ideas, its dialogue bloated. The understated growl of Savannah (Jennia Fredrique) is refreshing, but even she seems brought in so that everyone has something (or someone) to do. <i>The Skinny</i>'s appeal has made it possible for shows like <a href="http://www.imdb.com/title/tt3228904/"><i>Empire</i></a> to exist and for openly queer black men to be cast in <a href="https://letterboxd.com/film/alien-covenant/">Serious Science Fiction</a>, but its handling of character is intractably poor. I want my Black queer cinema to have deep and robust feeling; Patrik Ian-Polk's <i>The Skinny</i> offers only a thin gruel of unearned lessons.
Edited 69d ago
Rated A Moment in the Reeds 6/10
Edited 37d ago
Rated I Don't Want to Go Back Alone 7/10
Edited 37d ago