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Read More

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Movies | ‘Pariah’ at 10: When Black Lesbian Characters Had the Spotlight
‘Pariah’ at 10: When Black Lesbian Characters Had the Spotlight
The Dee Rees drama made waves but studios largely returned to business as usual. A new crop of filmmakers sees signs of hope.
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At the shimmering pink Catnip Lounge, a Brooklyn teenager, Alike, stands face to face with a dancer sliding head first down a pole. The pleasure manifesto “My Neck, My Back” from the rapper Khia booms from the speakers. Transfixed by the power of her desire, Alike discovers a physical place outside herself that can hold it. Finally.
This is the bold opening of “Pariah,” the coming-of-age drama from the writer-director Dee Rees . Ten years ago it premiered to critical acclaim, first at the Sundance Film Festival, then in theaters with a limited release that December, a herculean effort for an independent film starring a then unknown Adepero Oduy e as Alike (pronounced ah-LEE-kay) and made on a shoestring budget of less than $500,000.
“Pariah” (available to stream on HBO Max ) was the first movie about a Black queer woman to be released in theaters nationwide by a Hollywood studio. As Nelson George wrote in The Times in 2011, “No film made by a Black lesbian about being a Black lesbian has ever received the kind of attention showered on Ms. Rees’s film.” At the same time, George pointed out, “Pariah” was also part of a crop of films that pushed the boundaries of “what ‘Black film’ can be.” How Hollywood responded, then and now, has been telling.
Rees tells Alike’s story with an uncompromising specificity that has etched its place in great American cinema. (This year the movie was added to the Criterion Collection .) This unflinching sensibility harks back to the New Queer Cinema of the 1990s. By opening with the unfettered eroticism of the lesbian club and showing us scenes — like Alike’s awkwardly endearing dildo try-on — without explanation or apology, Rees followed in the footsteps of a group of filmmakers who refused to sanitize images of queer life to appease straight audiences. Think Cheryl Dunye’s “The Watermelon Woman” (1996), the first narrative feature film about an out Black lesbian protagonist made by an out Black lesbian.
“Pariah” began making waves in 2007 when Rees released the short that would become the basis for the 2011 feature. Kebo Drew of the San Francisco film training nonprofit Queer Women of Color Media Arts Project remembers the reaction in her community of friends and colleagues. “The Blackness was just saturated, coming from the roots,” Drew recalled.
After hearing word-of-mouth about the short, a screening at Outfest in Los Angeles touched the filmmaker Angela Robinson. “I felt like it was kind of opening a door that I hoped would stay open,” said Robinson. “It was such a personal story and a singular vision.”
The writer-director Numa Perrier credits Rees and “Pariah” as an inspiration for her 2019 film “Jezebel.” She remembered, “The softness of how vulnerable that coming-of-age story was, I hadn’t seen that before.”
Yet this fresh perspective did not lead Hollywood to greenlight more films about Black lesbians. There have been supporting characters like the passionate teacher Ms. Rain (Paula Patton) in “Precious” (2009) and the serene boxing coach Buddhakan (Sheila Atim) in Halle Berry’s directorial debut this year, “Bruised.” But over the last 10 years, not a single feature focused on Black lesbians has made it through mainstream pipelines.
At the same time L.G.B.T. characters overall have become far more visible on the big and small screens. Yet according to a University of Southern California report looking at the top 100 films of 2019 (the most recent year for which figures were available), nearly 80 percent of all such characters were male-identified and 77 percent were white. The report doesn’t provide statistics on queer women of color, as a group distinct from the category “female-identified.”
“It’s almost like the stars have to align before we get another Black lesbian movie,” Drew said. “But that’s a structural issue. So there has to be a more systematic approach for encouraging stories.”
So “Pariah” was singular not just in its self-assurance, but in whose story it told, too: Alike and her best friend, Laura (Pernell Walker), two Black, gay and masculine-of-center best friends from working-class neighborhoods in Brooklyn circa the early 2000s. Through the refuge of their friendship, they carve out space to be themselves.
At a “Pariah” screening at the Toronto International Film Festival in 2018, Rees told the audience, “There shouldn’t be two or three or 10. To me there should be like 200.” She added, “There’s room for so many more stories.” (Rees declined a request to be interviewed for this article.)
When Black lesbian stories, and the filmmakers with the lived experience to tell them, are shut out of the larger film world, the result is systemic erasure that is by definition hard to measure.
About 100 feature films have been directed by Black women since 1922, almost a third of whom are lesbians, the researcher and filmmaker Yvonne Welbon wrote in the 2018 anthology “Sisters in the Life: A History of Out African American Lesbian Media-Making.”
But the work of Black lesbian filmmakers has almost exclusively been made outside the Hollywood system and often not seen outside the film festival circuit, academia or grassroots distribution networks. Rees’s predecessors — filmmakers like Dunye, Michelle Parkerson (“A Litany for Survival”) and others — didn’t have assurances that a larger audience would even see their work; they simply made films that mattered to them, stories they wanted to see that didn’t yet exist in a film world that barely acknowledged their existence.
That “Pariah” earned distribution, made back its budget and even received a glowing shout-out from Meryl Streep during her acceptance speech for “The Iron Lady” at the 2012 Golden Globes, was all monumental, even if the film didn’t garner much attention inside Hollywood.
This is something the filmmaker Tina Mabry well understands, having tried, and failed, to get a theatrical release for her critically acclaimed debut feature, “ Mississippi Damned ,” a few years before “Pariah” came out. After seeing the short version of “ Pariah, ” Mabry asked Rees for an introduction to the film’s then up-and-coming cinematographer Bradford Young and hired him to shoot “Mississippi Damned.”
A coming-of-age tale starring Tessa Thompson and based on Mabry’s experience growing up in a Black working-class family in Tupelo, Miss., the movie won awards on the festival circuit, and aired on cable. Mabry said that she was told repeatedly that the movie was too similar to “Precious” and that “the market can’t handle two Black dramas.” For some distributors that focus on L.G.B.T. audiences, the movie was also perceived as not being gay enough despite a Black lesbian main character.
“The distribution model failed us. The people did not,” Mabry said. She also gives a nod to Ava DuVernay, who eventually got the film released on Netflix in 2015 through the film distribution arm she founded, Array . That year Mabry also got her first television directing job (“Queen Sugar,” another DuVernay assist) and Mabry — much like Rees after “Pariah” was released — has worked steadily in Hollywood ever since.
Indeed, there are signs of potential change. Mabry said she currently has feature film projects in development at four Hollywood studios, some of which center on Black queer women protagonists, although none of them are a done deal yet.
Back when Robinson made her first feature, “D.E.B.S.,” a 2004 lesbian teen spy movie that has since become a cult classic, “there was still the attitude in town that if you played a lesbian, it could ruin your career,” she remembered.
After Nina Jacobson, then a Disney studio executive, saw “D.E.B.S.” at the Sundance Film Festival, she hired Robinson to direct “Herbie Reloaded,” starring Lindsay Lohan. With ticket sales of $144 million, Robinson became the first Black woman director to draw at least $100 million at the box office. But despite her gratitude to Jacobson and the crew, the experience left her feeling isolated.
“It was me and 200 white men,” Robinson said.
That was when she pivoted to cable, accepting an offer from the showrunner Ilene Chaiken to direct episodes of the third season of “The L Word,” the groundbreaking show about the lives of high-powered lesbians in Los Angeles. Robinson hasn’t made another studio-backed film since. (Her 2017 feature “ Professor Marston & the Wonder Women ” was an indie.)
But now, more than 15 years later, she has an all-female action movie in the works at Warner Bros., and her desire to cast women of color in the leads was met not with pushback, but enthusiasm, she said.
“Warner Bros. called back and they were like, ‘Yes, we think you should make it more women of color and more queer,” Robinson said. “You have no idea how many years I have been waiting for somebody to say that.”
And Robinson is more hopeful than ever. She has a lucrative television production deal with Warner Bros. and several other projects in the pipeline, including a DC Comics series, “Madame X,” and a film remake of “The Hunger.”
“It’s always a tenuous time, but things have changed. I don’t feel like I have to Trojan-horse it anymore,” Robinson said, adding that it seems as if “I can just walk in the front door and say, ‘This is what I want to do.’ And I feel like there’s a lot of opportunity to do it.”

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Gay Nightlife in Mobile, Alabama: Best Bars, Clubs, & More

Andrew is an experienced writer and editor of guidebooks and articles on LGBT travel including "Fodor's Gay Guide to the USA."

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Famous for its historic sites, bay-front location, vintage buildings with wrought-iron balconies, and one of the nation's most popular Mardi Gras celebrations , the southern Alabama city of Mobile has a small but very fun gay nightlife district. Most of the city's LGBT bars are in the heart of downtown, steps from the moss-draped live oak trees of Bienville Square and the acclaimed Saenger Theatre.

The scene here is considerably more discreet than in New Orleans , but charming Mobile does make for a very fun weekend getaway.

There are three gay bars in downtown Mobile, all of them around the block of Conti Street from Joachim to Conception streets. Due to the limited number of bars, all three cater to both gay men and lesbians, with certain nights or events focused on one group over the other.

B-Bob's Downtown has been a staple of gay nightlife in Mobile since 1992. The first floor is more intimate and conversation-friendly, perfect for dates or friends who want to chat over a drink. Once you head upstairs, get ready for dancing, drag shows, and DJs on Mobile's biggest dance floor. Drag artists—both local and renowned—perform every Thursday, Friday, and Saturday night. Other weekly activities include bingo and a female impersonation contest. Patrons are permitted to smoke inside the bar.

Around the corner from B-Bob's—and by the same owners—is Flip Side Bar and Patio. Flip Side attracts much of the same crowd as its sister bar, but with its own lineup of events. The most popular activity at Flip Side is undoubtedly karaoke, which happens three times a week. When the weather isn't too cold or muggy, the outdoor patio is an unbeatable spot.

Continue around the block and you'll come across the final gay bar in central Mobile, Gabriel's Downtown. Gabriel's is a private club, meaning they're able to serve liquor later than at public establishments, but also that you must be a member (or guest of a member) to enter. This lively bar has a friendly staff, plus a few feline mascots rescued by the human employees. Gabriel's is fun for karaoke, socializing around the cozy bar, and shooting pool. On Saturday nights, the foliage-covered patio is the place to be.

About 10 minutes outside of downtown, Midtown Pub is the other gay bar in Mobile. With plenty of parking, pinball machines, pool tables, a decent-sized dance floor, and an everybody-knows-your-name kind of vibe, this is an easy place for newcomers to fit in. Sunday's karaoke nights are fun, and every night you can count on a couple of drink specials. The crowd is eclectic and friendly.

If you're out drinking downtown, grab some traditional Southern fare at Mobile landmark Wintzell's Oyster House. Just a few blocks down from the bars, Wintzell's is open until 11 p.m. on Friday and Saturday nights. Although they are famous for their eponymous oysters, if you're out at night you're likely looking for something fried and savory, and Wintzell's jerk chicken tater tots, fried okra, or sweet potato fries are a perfect way to re-energize before heading off to the dance floors.

Alabama normally isn't the first place that comes to mind for gay and lesbian festivals, but Mobile hosts two major events that involve the LGBT community each year.

The first and most important is Mobile Pride, which takes place in October. Many of the local drag queens you can see weekly at B-Bob's come out for a special Pride celebration performance. Other members of the community also take part, including a performance by local officers from the Mobile Police Department.

The second event isn't explicitly geared toward the LGBT community, but Mardi Gras is an annual event each February that attracts many gay and lesbian participants as well. While less well-known than the massive festival that takes place in New Orleans, Mobile is actually the birthplace of U.S. Mardi Gras. The first festival was held in the city in 1703.

It's also just an hour's drive southeast to the Florida panhandle city of Pensacola, home to the Pensacola Gay Memorial Day Weekend celebration, held each year in late May.

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