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Janet Gaynor was born Laura Gainor on October 6, 1906, in Philadelphia, Pennsylvania. As a child, she & her parents moved to San Francisco, California, where she graduated from high school in 1923. She then moved to Los Angeles where she enrolled in a secretarial school. She got a job at a shoe ...

Once you saw her, you would not forget her. Despite her age and weight, she became one of the top box office draws of the sound era. She was 14 when she joined a theater group and she went on to work on stage and in light opera. By 1892, she was on Broadway and she later became a star comedienne on...

Actress |
What Ever Happened to Baby Jane?


Joan Crawford was born Lucille Fay LeSueur on March 23, 1904, in San Antonio, Texas, to Anna Belle (Johnson) and Thomas E. LeSueur, a laundry laborer. By the time she was born, her parents had separated, and by the time she was a teenager, she'd had three stepfathers. It wasn't an easy life; ...

Carole Landis was born on New Year's Day in 1919 in Fairchild, Wisconsin, as Frances Lillian Mary Ridste. Her father, a railroad mechanic, was of Norwegian descent and her mother was Polish. Her father walked out, leaving Carole, her mother and an older brother and sister to fend for themselves. ...

Patsy Kelly was born Bridget Sarah Veronica Rose Kelly on January 12, 1910, in Brooklyn, New York. She began performing in vaudeville when she was just twelve years old. Patsy worked with comedian Frank Fay and starred in several Broadway shows. She was discovered by producer Hal Roach , who paired ...

Marilyn Monroe was an American actress, comedienne, singer, and model. She became one of the world's most enduring iconic figures and is remembered both for her winsome embodiment of the Hollywood sex symbol and her tragic personal and professional struggles within the film industry. Her life and ...

Lizabeth Scott was born Emma Matzo on September 29, 1922 in Scranton, Pennsylvania, the oldest of six children of Mary (Pennock) and John Matzo, who were Slovak immigrants. Scott attended Marywood Seminary and the Alvienne School of the Theatre in New York City, where she adopted the stage name of ...

Today Barbara Stanwyck is remembered primarily as the matriarch of the family known as the Barkleys on the TV western The Big Valley (1965), wherein she played Victoria, and from the hit drama The Colbys (1985). But she was known to millions of other fans for her movie career, which spanned the ...

Lilyan Tashman was born on October 23, 1896, in Brooklyn, New York, to Rose (Cook) and Morris Tashman. Her parents were Jewish immigrants, her father from Bialystok, Poland, and her mother from Germany. After toying with some stage work, she made her film debut with Experience (1921). That was her ...

Bloodlust and lesbians — what could be a more winning combination? In honor of Halloween month, the programmers at New York arthouse cinema The Quad are showcasing 12 staples of the lesbian vampire genre, because who doesn’t love a broad with bite? Titled “ A Woman’s Bite: Cinema’s Sapphic Vampires, ” the series also complements an excellent Jean Rollin retrospective, Très Outré: The Sinister Visions of Jean Rollin , the French horror auteur who put women at the center of his lush, gothic cinema. “A Woman’s Bite” runs October 26-November 1 at The Quad.


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When thinking of a ‘best’ list of LGBT related films, the criteria is so varied that it’s very hard to pick just a small amount. Are we comparing them in terms of narrative? Or is it strong and unique characters? Is it in terms of innovation of the genre, and can we even call lesbian or LGBT films a genre in general, considering they can vary from comedies, to dramas, to murder stories?
Of course, one must consider all these things at once because, after all, films are complex and multi-sided. Although many films were made in earlier cinema about lesbians – whether openly or in more subtle forms – it is the New Queer Cinema that really transformed the definition of sexuality and the potential of what non-heterosexual films can be as well as the way LGBT characters can be presented. Although the movement never became mainstream, it has subtly infiltrated both indie and Hollywood cinema in a way that it’s traces are still seen today.
Without further ado, although a list of great films should never be limited to such a small number as 10, these titles definitely stand as strong representations of lesbian films.
10. The Handmaiden (Park Chan-wook, 2016)
The Handmaiden is a brilliant film in all its aspects, with a plot that doesn’t stop to shock and surprise at every turn. The film follows a con-man, Count Fujiwara (Ha Jung-woo) who is on a mission to seduce and steal the inheritance of a rich Japanese woman Lady Hideko (Kim Min-hee).
To carry out his plan he hires the help of a professional thief, Sook-Hee (Kim Tae-ri) to act as her handmaiden. However, the women are smarter than Fujiwara thought and what follows is an endless power swap of the characters, in the process of which Sook-Hee and Lady Hideko fall in love.
9. The Bitter Tears of Petra Von Kant (Rainer Werner Fassbinder, 1972)
Although this is not the film most associated with Fassbinder, it is a real gem and one of his greatest works. The Bitter Tears of Petra Von Kant was adapted by him from his own play of the same name, giving it a great cinematographic spin and illuminating it with rich colours suitable to a film about a fashion designer. The story is both humorous and tragic, showing the difficulties of finding true love when you’re rich and famous – a story quite personal to Fassbinder himself.
Set in a luscious and artistic apartment of Petra Von Kant (Margit Cartensen), a powerful woman who is arrogant and self-righteous, whose life changes for the better or worse when, infatuated with a young model Karin (Hanna Schygulla), she invites her to move in with her, causing a series of drama.
8. My Summer of Love (Pawel Pawlikowski, 2004)
The summer is a strange romantic time for youth. A period where you have a lot of time to yourself, and longing for something exciting to happen that will help you feel more alive.
Set in such a period of time, My Summer of Love explores a unique relationship between two young girls that could not have less in common. Tamsin (Emily Blunt), coming from an upper-class background and a spoiled attitude and Mona (Natalie Press) a lower-class girl hiding her brightness behind a hard-faced mask.
However, whether it is the summer, or the bonding over their familial problems, the girls immediately become close and find themselves crossing over the strict friendship barrier.
Like many LGBT films, Pariah is a film of self-discovery, and one that is very much personal to the director herself. The film follows Alike (Adepero Oduye) in a coming of age story that creates a lot of sympathy and identification with the young teenager.
One can’t help but root for her as she is forced to hide her unfemininity in front of her parents, changing clothes before seeing them as a reassurance of her normality. At the same time we can experience the joy of her first love and the transformation in makes in her and for her relationship with herself as she finally finds someone who understands her.
The film is filmed with beautiful cinematography from Bradford Young that reflects Alike’s emotions through the saturated colours at a night club scene and green murky tones of desperation as she finds out the price of being herself.
6. Desert Hearts (Donna Deitch, 1986)
Desert Hearts is a ground breaking film in that, for the first time, a man was not in any way involved in the romance between two women.
Armed with powerful and complex characters, Desert Hearts follows Vivian Bell (Helen Shaver) in an attempt to start fresh after her divorce, as she learns to rediscover who she is. The spark she needed appears in the form of Cay (Patricia Charbonneau), a bright and energetic sculptor who has long learnt to forget about society’s permission when it comes to living her life as she wants. She is fearless and not afraid to be challenging, something that immediately draws Vivian. The films western rural landscapes serve as a backdrop for the inspiring affair.

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Back and newly restored, the 1951 French film about a lusty all-girls boarding school remains as strange and sensational as ever.
Marie-Claire Olivia (left) in "Olivia."
Edwige Feuillere (left) and Marie-Claire Olivia (right) in "Olivia."
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A legendary and rarely seen lesbian classic, the 1951 film Olivia is being rereleased in theaters thanks to Icarus Films. Like the better-known 1931 German drama, Mädchen in Uniform, this story of a young girl's love for her teacher was written and directed by women. Olivia bears many striking resemblances to Mädchen, but at least it does not end with a suicide.
Based on the 1949 British lesbian novel of the same name by Dorothy Bussy (née Strachey), which was published by Leonard and Virginia Woolf’s Hogarth Press, Jacqueline Audry’s Olivia was first released in France, then in the U.S. in 1954 (Colette Audry wrote the screenplay). Its sensational original U.S. title, Pit of Loneliness, was clearly meant to evoke Radclyffe Hall’s 1928 lesbian novel, The Well of Loneliness.
Olivia ’s initial tone of girlish playfulness and its quaint period atmosphere shifts in fits and starts to become lurid and even creepy. Like other early portrayals of homosexuality on screen, we get a little titillation and a lot of psychological warning.
It’s the late 1800s in the French countryside. Impressionable, innocent English girl Olivia (Marie-Claire Olivia) arrives to her posh new boarding school in a horse and buggy and is quickly immersed in the dramas of her new home. We soon discover the strange partnership and rivalry of the two women who run the school, Miss Julie (Edwige Feullière) and Miss Cara (Simone Simon), who clearly share a special relationship and also seem to compete for the affections of their students—"the Julists and the Carists,” one character calls the two factions.
The languid Miss Cara is a caricature of manipulative, neurotic femininity—all flounce and lace and coquettishness. Her pouting and obviously feigned illness (she suffers from “migraines” when she gets upset) is at once a ploy to earn Miss Julie’s sympathy and a passive-aggressive jealous brooding over the fact that the students seem to prefer Miss Julie to her. We get additional shades of lesbian pseudo-psychology in fellow teacher Frau Riesener (Lesly Meynard), who co-dependently cares for Miss Cara, looming as a constant presence. Serving as a comic chorus, the school cook, Victoire (Yvonne de Bray), and math teacher Miss Dubois (Suzanne Dehelly) gossip incessantly and often hilariously about Frau Reisener, Miss Cara, Miss Julie, and all of their nonsense.
But the film’s primary arc is the evolving relationship between Olivia and Miss Julie, some of which is depicted in private in their one-on-one scenes and much of which is acted out in classroom and dining hall sequences—this public display of tension makes the story all the more shocking.
Marie-Claire Olivia (left) in Olivia.
“Did you see? She was walking as if in a dream,” says one of the girls after seeing Olivia utterly smitten with Miss Julie after a classroom reading of Racine.
Our young protagonist grapples with her increasingly passionate crush on her teacher, and Miss Julie’s feelings for Olivia also gradually blossom—the portrayal of this dilemma vacillates between subtle restraint and overwrought torment as Feullière unfolds a masterful performance of pedophilic lesbian agony.
Similar to Mädchen in Uniform, we get numerous scenes in which the student recklessly makes known her feelings for the teacher. When they visit a museum together in Paris to see Jean-Antoine Watteau’s painting The Embarkation for Cythera, Olivia gazes not at the painting but at Miss Julie. Riding back home on the train, she again fixates on her in the coach. When she asks Olivia to sit next to her, Olivia grasps Miss Julie’s hand and we see Miss Julie, realizing Olivia’s intent, pull away and look strangely at her.
Later, when Miss Julie’s beloved former student Laura (Elly Claus) drops by, Olivia tries to understand whether Laura and Miss Julie had a similar experience together. “Laura, do you love her? Tell me,” Olivia says, and it’s more a proclamation than a question. “Does your heart beat when you see her? Does it stop when your hands touch? Does your throat close up when you speak to her?”
We’re an hour in at this point, and Olivia has offered mysterious and confusing implications that vaguely suggest lesbianism. The progression toward an explicit showcase of lesbian desire in the latter part of the film grows more astounding as the love that dare not speak its name becomes both audible and visible (it’s doubly astounding given that the film’s period setting makes it seem even older than it is).
Edwige Feuillère (left) and Marie-Claire Olivia (right) in Olivia.
Miss Julie keeps finding reasons to go visit Olivia in her room at bedtime. On one particular night, as Miss Julie goes to tuck Olivia in, we see a genuine hunger in her that she’s trying to suppress. She tells Olivia to shut her eyes and then leans over and kisses them far more intensely than she should. Olivia clutches Miss Julie’s hand and begins kissing it.
“You’re too passionate, my dear,” Miss Julie responds, pulling away.
The next day, together in Miss Julie’s office, Miss Julie plays it cool, but stares longingly at Olivia when she’s not looking. Olivia suddenly looks up and meets her gaze, and then lunging towards Miss Julie and kneeling next to her desk, Olivia declares, “I love you. I love you. I love you.” Miss Julie does not move—her reaction betrays her mixed emotions. She averts her eyes, half in despair and half in shock, as Olivia buries her face, crying.
In another sequence that closely resembles Mädchen, the girls have a Christmas pageant in which half of them dress in drag, adding another layer of queer possibility to the tale. Here we have Miss Julie and Miss Cara opening and presiding over the ball by dancing together, until one of Miss Cara’s migraines takes her away—which gives Miss Julie the opportunity to publicly and heedlessly hit on one of her students, the beautiful Cécile (Nadine Olivier). This is the point at which the film reaches an absolute 10 on the mind-boggling-depiction-of-lesbianism-in-a-1950s-film meter.
As Miss Cara walks off, Miss Julie sees Cécile among the other girls on the dance floor. She stands admiring her. “Our beautiful Cécile. Turn around and let us see you,” she coos, grasping Cécile’s shoulders before kissing her on the neck. From across the room, Olivia sees this (somehow no one else does). Miss Julie recovers and brazenly strides toward Olivia. Her sudden boldness makes it seem like she must be drunk or that she’s lost her mind. While it’s pleasurable to see such an overt illustration of lesbian desire on screen, it’s also creepy because, of course, Miss Julie is a teacher and her students are all at least half her age.
It gets even creepier as Miss Julie grabs Olivia, telling her that she has “lovely eyes, a lovely mouth, a lovely body… But if I wanted to kiss you, how would I go past all these veils [of her costume].”
Let me tell you a secret, she whispers seductively, pulling Olivia against her. “I will come tonight.” Pause. “I will bring you candy.” Candy? She walks away, and Olivia swoons as we collectively wonder out loud, “What the fuck?!”
Numerous similar scenes unspool from here, but I’ll stop with the spoilers. However, it’s worth noting that we’re never given a scene in which the women actually kiss, which raises the question of whether this new restoration of Olivia is from an uncensored print. In his groundbreaking book, The Celluloid Closet, Vito Russo reprints the following U.S. censor's notation on the film: "Eliminate in Reel 5D: scene of Miss Julie holding Olivia in close embrace and kissing her on the mouth. Reason: immoral, would tend to corrupt morals."
Sadly, these morals remained uncorrupted. Like Mädchen in Uniform and its subsequent remakes (the fabulous 1958 German production and the wonderful 1951 Mexican version, Muchachas de Uniforme ), Olivia ’s scenes are the classic tortured images of lesbian desire we expect from films made before the lifting of the Production Code in the 1960s, especially in the small but significant genre of lesbian girls’ boarding school movies—a list that also includes 1961’s The Children’s Hour (starring Audrey Hepburn and Shirley MacLaine) and 1968’s Therese and Isabelle.
As Olivia evolves from subdued period piece to lurid melodrama, we wish we could cheer for the lesbians to end up together, yet given its context and setting we can really only marvel at how weird this movie is. But now that you know what you’re in for, enjoy.
The new 4K restoration of Olivia opens August 16 at the Quad Cinema in New York.
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