Why films about lesbian characters should be… | Little White Lies

Queer Cinema

Why films about les­bian char­ac­ters should be called les­bian films

17 Sep 2019

Words by Ege Apaydın

Two young women embracing on a beach, with a blue sea in the background.
Two young women embracing on a beach, with a blue sea in the background.
Is there an argu­ment to drop the cov­er-all term queer” in favour of some­thing that’s more spe­cif­ic to the sub­ject of a piece of art?

In spring of 2019, acclaimed direc­tor Céline Sciamma’s lat­est film Por­trait of a Lady on Fire pre­miered at the Cannes Film Fes­ti­val and attract­ed wide­spread cov­er­age from jour­nal­ists attend­ing it and oth­er film fes­ti­vals through­out the year. The film is about two les­bians who fall in love with each oth­er short­ly after meet­ing. Despite the film being a les­bian love sto­ry, you won’t find many pub­li­ca­tions using the word les­bian” in their reviews. The term used instead in almost every review is queer” which does not mean the same thing. In fact, it has a very dif­fer­ent – and con­tro­ver­sial – his­tor­i­cal back­ground when com­pared to les­bian”.

The word queer” was once used as an insult. Today it is an umbrel­la term used to define any­one not het­ero­sex­u­al and/​or not cis­gen­der (peo­ple whose gen­der iden­ti­ty match­es their assigned birth sex). It is a new label for peo­ple who want to be label­less to the point that some­times it’s used by peo­ple who are het­ero­sex­u­al and cis­gen­der but date peo­ple who are not.

Queer has many ben­e­fits for those who are unsure about how to define their gen­der or sex­u­al­i­ty, as it also does for those who sim­ply don’t want to. It cre­ates an envi­ron­ment to have more open dis­cus­sions about gen­der and sex­u­al­i­ty, and includes those who don’t feel like they fit into any or all labels under LGBT.

Yet the use for queer for every­one who falls under non-het­ero­sex­u­al and non-cis­gen­der comes with prob­lems. The word queer” was used in ear­ly 16th cen­tu­ry to mean strange or unusu­al”, and became a deroga­to­ry term in 19th cen­tu­ry to insult non-het and non-cis­gen­der indi­vid­u­als. Lat­er, queer was reclaimed by some LGBT-iden­ti­fy­ing indi­vid­u­als to define themselves.

To this day, many LGBT indi­vid­u­als per­ceive queer” as an insult, espe­cial­ly when it is used by a het­ero­sex­u­al or cis­gen­der per­son. Which brings us to using queer to describe films in crit­i­cism – a prob­lem that’s recent­ly became more vis­i­ble due to reviews and talk around Céline Sciamma’s lat­est film, Por­trait of a Lady on Fire.

The film’s two main char­ac­ters are women who fall in love with each oth­er and are nev­er shown dis­play­ing attrac­tion to men. Yet, as men­tioned above, it is almost impos­si­ble to find a sin­gle review that uses the word les­bian” to describe it. Head­line after head­line describes Por­trait of a Lady on Fire as a queer film”, and the major­i­ty of these reviews are writ­ten by male crit­ics who iden­ti­fy as het­ero­sex­u­al and cisgender.

It’s impor­tant to know that, though I don’t believe a film must be direct­ed by a les­bian to deserve being described as a les­bian film, direc­tor Céline Sci­amma and co-lead Adèle Haenel iden­ti­fy as les­bians. Then why, despite all that, it is almost impos­si­ble to find a review that describes Por­trait of a Lady on Fire as a les­bian film”?

Unfor­tu­nate­ly, Por­trait of a Lady on Fire is not the only film that suf­fers from this prob­lem. Todd Haynes’ Car­ol and Sebastián Lelio’s Dis­obe­di­ence are recent exam­ples of les­bian films that have been described with either umbrel­la terms like queer” or gay”, or my per­son­al favourite a for­bid­den romance”. Again, many reviews I’ve read do not fea­ture the word les­bian even once. There are those who argue that Car­ol is not pure­ly a les­bian film because char­ac­ters had unhap­py and unsat­is­fac­to­ry rela­tion­ships with men despite the char­ac­ters being defined as les­bians by the book’s author Patri­cia High­smith, who also iden­ti­fied as a lesbian.

Assum­ing that les­bian char­ac­ters might be also attract­ed to men because they are shown in a rela­tion­ship with men com­plete­ly ignores how the het­ero­nor­ma­tive expec­ta­tion enforced by soci­ety has pushed women into liv­ing het­ero­sex­u­al lives to fit in.

An argu­ment could be made that the pur­pose behind using queer to describe les­bian films might height­en inclu­siv­i­ty and stand against anoth­er impor­tant prob­lem which is bisex­u­al era­sure. But why is that inclu­siv­i­ty only prac­tised when it comes to les­bian films? Why must a char­ac­ter have to ver­bal­ly state that they iden­ti­fy as a les­bian in the film so they do not have to face with ques­tions about their sex­u­al attraction?

If we’re going to assume there is a chance of attrac­tion to the oppo­site gen­der in seem­ing­ly les­bian char­ac­ters, why not car­ry that same assump­tion for seem­ing­ly het­ero­sex­u­al char­ac­ters? If they don’t explic­it­ly state that they are straight, couldn’t that mean they expe­ri­ence same-sex attrac­tion? Shouldn’t we also assume any char­ac­ter who seems het­ero­sex­u­al but does not say they iden­ti­fy as het­ero­sex­u­al out loud in a film might be attract­ed to same gen­der, and there­fore must be defined as queer?

The answer should be that, yes, the same stan­dards should apply. One of the main rea­sons why ques­tions regard­ing sex­u­al­i­ty are most­ly point­ed towards LGBT films is that het­ero­sex­u­al­i­ty is seen as the norm and is thus not ques­tioned. Our first job as crit­ics when it comes to talk­ing about sex­u­al­i­ty in film is to under­stand and then decon­struct com­pul­so­ry het­ero­sex­u­al­i­ty. When it comes to ques­tion­ing sex­u­al­i­ty of les­bian char­ac­ters and using queer instead of les­bian to define films, we arrive at the prob­lem of fetishis­ing the word lesbian.

Through­out his­to­ry, les­bians have faced a par­tic­u­lar kind of homo­pho­bia where they were only accept­ed when they are dehu­man­ised and fetishised for sex­u­al desire of men. This has result­ed in les­bian” being per­ceived as a dirty word, a porn cat­e­go­ry, and it has pushed many les­bians into to avoid describ­ing them­selves as a les­bian and using umbrel­la terms for their sex­u­al­i­ty from the fear of being fetishised.

Les­bian activists have and are still doing sig­nif­i­cant work to help les­bians feel more com­fort­able using the term to define them­selves and to fight against the fetishi­sa­tion of the word. We as crit­ics should make it part of our job to con­tribute to that work by using the word les­bian in our writ­ing when­ev­er pos­si­ble. Refer­ring to les­bian char­ac­ters as les­bian rather than queer in our writ­ing will con­tribute to nor­mal­is­ing the word and open up space for more con­ver­sa­tions about les­bian rep­re­sen­ta­tion in film. This will hope­ful­ly mean more oppor­tu­ni­ties for les­bian film­mak­ers to claim their space in LGBT+ cinema.

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