There is a moment in Chanya Button’s long-awaited Vita & Virginia where all the adornments of the period drama fall away to peer within the timeless image of sexual discovery – as one Virginia Woolf, admits to her almost-lover Vita Sackville-West that she “cannot” give her what she longs for. Her body tense, her tone one of desperate confession, this insight into one of the greatest minds of the 20th century feels almost sacred.
Carmen & Lola (Carmen y Lola), the directorial debut of Arantxa Echevarria, reinvigorates a familiar coming out scenario by transporting it to the heart of Madrid’s Roma community, finding within it specific cultural issues that, sadly, allows for one of the oldest narratives within LGBT storytelling to maintain its relevancy.
Justin Johnson is a privileged rich kid, whose parents only ever wanted two things – a straight son who got straight A’s. Bankrolling his college fund, he’s flown the nest and is finally free to be himself, until he gets phone calls from his disapproving father that always lead to committing various acts of self harm.