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Comedians & Comedies: Harold & Maude
Two funeral-crashers – a teenaged boy and an elderly woman (Bud Cort and Ruth Gordon, respectively, both utterly fabulous) – develop a deep relationship in this classic ‘70s comedy from Hal Ashby. The humor is dark-dark-dark – there’s death everywhere, and much of guffaw-humor comes from Harold’s increasingly elaborate and hysterical fake-suicide attempts – but there’s a very human heart in the movie.
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Paris Is Burning (1990)
Presented by drag artist Rheed Rhumm as part of the ongoing “Queer Coming-Out Stories,” Paris Is Burning chronicles NYC's ball culture, and addresses some pressing questions, such as: Where does voguing come from, and what, exactly, is throwing shade? This landmark documentary provides a vibrant snapshot of the 1980s through the eyes of New York City’s African American and Latinx Harlem drag ball scene.
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Crossing
From acclaimed director Levan Akin (And Then We Danced), CROSSING is a moving and tender tale of identity, acceptance and unlikely connection that transcends borders and generations.
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Saved! (2004)
As part of VTIFF’s ongoing “Queer Coming-Out Stories,” Emoji Nightmare presents this 2004 comedy, which offers a set-up along the lines of: what if Heathers or Mean Girls took place a Christian school? When Mary (Jena Malone), a Christian high-school student, attempts to 'cure' her friend of his homosexuality, it backfires and she ends up pregnant.
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Comedians & Comedies: The Incredible Shrinking Woman
The great Lily Tomlin does her thing in this comedy, written by Tomlin’s longtime creative partner Jane Wagner. This creative mix of physical comedy, satire, sci-fi and social commentary baffled critics when it came out in 1981, but has achieved cult status in the intervening decades.
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King Creole
“An Elvis movie? Really?!”
Yes, absolutely. It’s true that, as a rule, Elvis movies are terrible. Who’d argue with that? They tend to be lazy enterprises with cookie-cutter scripts, embarrassing songs, mediocre production values, baked-in misogyny, and deeply uninspired – and often utterly indifferent – performances from Big El himself.
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