Film Complet Lesbienne
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Film Complet Lesbienne
Top 15 1 098 votes 805 participants
par Clément Brunet
publié le 20 octobre 2021
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Votez pour les meilleurs films lesbiens disponibles en ce moment sur Netflix
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Les bons films lesbiens sont difficiles à trouver, mais heureusement de plus en plus de films mettant en vedette des héroïnes lesbiennes et bisexuels tombant amoureuses voient le jour. Et l'un des domaines dans lesquels Netflix a toujours excellé est la production de contenu LGBT , et cette liste des meilleurs films lesbiens produits par Netflix ou disponibles sur la chaine de streaming le prouvent. Allant des comédies romantiques aux drames en passant par quelques films érotiques , ces bons films lesbiens à voir sur Netflix sont dynamiques, socialement pertinents et toujours fiÚrement indépendants.
Quels sont les meilleurs films lesbiens sur Netflix en france 2022 ? Que vous fassiez partie de la communauté LGBTQ+ ou que vous soyez simplement curieux de cinéma, dites-nous ce que vous pensez de ces films lesbiens sur Netflix en votant pour vos long-métrages favoris.
Genre : Biographie, drame, romance saphique
Acteurs : Natalia de Molina, Greta FernĂĄndez, Sara Casasnovas
Acteurs : Cate Blanchett, Rooney Mara, Sarah Paulson, Kyle Chandler
Acteurs : Barbara Niven, Jessica Clark
Acteurs : Leah Lewis, Alexxis Lemire, Daniel Diemer
Acteurs : Leighton Meester, Minka Kelly, Cam Gigandet, Alyson Michalka, Danneel Harris, Billy Zane
Acteurs : Terry Donahue, Pat Henschel
Acteurs : Preeti Gupta, Bhavani Lee, Victor Banerjee, Adil Hussain, Ankur Vikal
Acteurs : Alison Brie, Dave Franco, Aubrey Plaza, Kate Micucci
Acteurs : Naomi Watts, Laura Harring, Justin Theroux, Ann Miller
Acteurs : Sushar Manaying, Supanart Jittaleela
Genre : Comédie dramatique, romance saphique
Acteurs : Alia Shawkat, Laia Costa, Mae Whitman, Hong Chau
Titre original : El ĂĄrbol de la sangre
Acteurs : Ărsula CorberĂł, Ălvaro Cervantes, Najwa Nimri
Acteurs : Meryl Streep, James Corden, Nicole Kidman, Keegan-Michael Key, Andrew Rannells, Jo Ellen Pellman, Ariana DeBose, Kerry Washington
Titre original : Disclosure: Trans Lives on Screen
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We look back through film history at 10 of the greatest movies about lesbians.
Itâs tricky to pinpoint the moment when the movie world could proclaim the first openly lesbian film. Identifying early cinematic representations of lesbianism was like collecting crumbs off the top table. Sapphic sisters were used to watching whole films just to see a character (usually portrayed as victim, killer, neurotic or prostitute) shoot a covert look that audiences could interpret as queer â for instance, the apparent lesbian subtext between Vienna (Joan Crawford) and Emma (Mercedes McCambridge) in Nicholas Rayâs Johnny Guitar (1954).
In the UK , 1967 was a milestone, the year that homosexuality was decriminalised (even if there was no mention of lesbianism in the new legislation). In the USA , the 1969 Stonewall riots were a turning point that led to the beginning of the modern gay and lesbian liberation movement. From those moments on, lesbians have been slowly coming out on celluloid, albeit often controlled by the gaze of male directors.
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In tracking the key films of lesbian cinema, weâve restricted our list to films available on DVD or for streaming in the UK . This sadly means weâve had to leave out many favourites: MĂ€dchen in Uniform (1931), Club de femmes (1936), Personal Best (1982), Virgin Machine (1988), and great films by Ulrike Ottinger and Chantal Akerman. Which begs the question, why are there not more lesbian films available to watch on DVD /VoD? After all, Walter Benjamin did say that the lesbian is the heroine of modernismâŠ
Childie: Not all women are raving bloody lesbians, you know.
George: That is a misfortune I am perfectly well aware of!
The Killing of Sister George is one of the greatest and most grotesque of all lesbian crossover films. Life B.G. (before George) held little hope for cinema-loving lesbians. Pre-decriminalisation dramas included 1967âs The Fox, which has the basic premise that all a lesbian needs is a man, and 1963âs The World Ten Times Over, which is possibly the first British lesbian film but was heavily censored before its release.
All hail Beryl Reid, magnetic in her portrayal of George, a loud, aggressive, cigar-chomping dyke who loses her job and her young lover. It has the mother of all lesbian love triangles: butch girl-chasing George; the predatory, sophisticated middle-class dyke (Coral Brown), and Childie, the coquettish neurotic femme (Susannah York). Rated X for its explicit sex scene, the film tanked at the box office but remains an era-defining cult classic. Significantly, some scenes were shot in an actual London lesbian bar, The Gateways Club, giving audiences a rare on-screen glimpse of London lesbian culture.
Born in Los Angeles but a New Yorker by choice, Barbara Hammer is a whole genre unto herself. Her pioneering 1974 short film Dyketactics, a 4-minute, hippie wonder consisting of frolicking naked women in the countryside, broke new ground for its exploration of lesbian identity, desire and aesthetic. Abdellatif Kechiche, director of last yearâs sexually sensationalist Blue Is the Warmest Colour, might have done better if he had taken a leaf out of Hammerâs book. Hammer calls the film her âlesbian commercialâ.
She went on to become one of the brightest and most significant lesbian avant-garde filmmaking voices of the past 40 years, whose work includes over 80 film and video works covering lesbian love and sex, womenâs spirituality, radical feminist politics, the figure of the goddess, and lesbian/queer film history. Without Hammer, there would be no Born in Flames (1983), no Desert Hearts (1985), no Go Fish (1994).
At time of writing, Ukraine is going through a 21st-century revolution and if the geopolitical land grab ends in victory for Russia, with its anti-gay laws, then the future for Ukraineâs LGBT community will be uncertain.
Another Way is set in another eastern European country dealing with its own revolution: Hungary immediately after the failed 1956 uprising against communism. The film details a courageous and intelligent love story between 2 pro-democracy journalists. The topic was a double taboo because it was the first Hungarian film to deal with homosexuality as well as a controversial look back at the consequences of the revolution. Director KĂĄroly Makk sensitively juxtaposes this tender but doomed love affair with the high hopes and bitter suppression of the Budapest Spring. Itâs clear that Makk was not especially interested in homosexual rights in 1950s Hungary; nevertheless his portrayal of lesbianism is neither exploitative nor melodramatic.
Oh la la! Câest Paris, câest magnifique! Well it would have been magic if you happened to be a boho creative woman living on the cityâs Left Bank in the early decades of the 20th century. Greta Schillerâs absorbing investigative documentary could have been called Paris Was a Lesbian for the amount of Sapphos living, working and loving together. Writers Collette, Djuna Barnes, Gertrude Stein, Alice B. Toklas, poets H.D. and Natalie Clifford Barney, booksellers Sylvia Beach and Adrienne Monnier⊠the list goes on and on.
Schiller (Before Stonewall, 1984), together with her long-term collaborator Andrea Weiss, rewrites (her)story with unseen home movies and new research to create a magical film about this most original of womenâs artistic communities. Weissâ British queer film history documentary A Bit of Scarlet (1997) is also worth a look and can be watched on the BFIÂ Player.
Director: Lana and Lilly Wachowski
No lesbian film list is complete without the Wachowski siblingsâ dazzling sexy noir/crime caper/slapstick comedy Bound. It was their pre-Matrix breakout film, a titillating Playboy hybrid thriller mashed up into a lesbian feminist love story. The Wachowskis donât just play with the male gaze, they flip it sunny side up and get feminist writer Susie Bright in as their lesbian âsexpertâ.
The story concerns a mobsterâs girlfriend falling in love with the ex-con dyke next door. Jennifer Tilly and Gina Gershon positively sizzle as couple on the run, Violet and Corky, giving audiences plenty of girl-on-girl action. Taking inspiration from Billy Wilder and their love of comics, Bound completed a 90s trilogy of (in critic B. Ruby Richâs phrase) âLethal Lesbiansâ films (beginning with Thelma & Louise, 1991, and Basic Instinct, 1992) â a cinematic expression of lesbian feminist desire.
US indie writer/director/educator Cheryl Dunye burst onto the New Queer Cinema scene in 1996 with The Watermelon Woman, an audacious, self-styled âDunyementaryâ. However, itâs her rarely screened follow-up film, Stranger Inside, which really impresses. Made for HBO and produced by R.E. M.âs Michael Stipe, itâs set within the US womenâs prison system and tells the story of an incarcerated young African-American woman who goes in search of her biological mother.
Based on 4 years of research into the lives of women inside, the drama is a powerful study of prison life in the 21st century. Far away from the piss and vinegar of Scrubbers (1982) and Prisoner Cell Block H (1979-86), Dunyeâs film makes a potent case for how race and class have created a new caste system behind bars.
In 2002, when Lisa Gornickâs debut feature premiered at the BFI London Lesbian & Gay Film Festival (now BFI Flare), it was a significant moment because the film was the first British lesbian feature in 10 years. As such, the film and director attracted considerable attention both at home and abroad. Gornick wrote, directed and starred in this breezy, urbane comedy, which she described as âa thesis on love and its labelsâ.
The life and loves of 30-something Marina are explored as she searches for answers to the big questions in her life. Made 2 years before the internationally successful TV series The L Word (2004-09), Do I Love You? deftly captures the zeitgeist with its investigation of lesbian identity and sexual mores in the 21st century. Itâs like a lesbian Annie Hall (1977) or Frances Ha (2012), with Gornick (who recently starred in The Owls) cornering the market as the thinking womanâs favourite dyke.Â
Lesbian cinema finally hits the big âOâ time with Lisa Cholodenkoâs (High Art, 1998) family-friendly comedy The Kids Are All Right ratcheting up four Oscar nominations in 2011, including best picture. Annette Bening and Julianne Moore tear up the straights-canât-play-gay rulebook as long-term married couple Nic and Jules, who hit midlife parenting and partnership problems.
The mainstream press went nuts, joyful that they had a homosexual film they could write about without unsettling their more conservative readers â though Cholodenko suffered a backlash from some queer corners for her inclusion of hetero sex (with beefcake Mark Ruffalo), and for her filmâs apparent advocacy of traditional family values.
The French term for tomboy is âgarçon manquĂ©â, which translates literally as âfailed boyâ. âI donât need to comment, you can see how bad it isâ, said writer/director CĂ©line Sciamma (Water Lilies, 2007) on the phrase, preferring to give this honest little film about gender confusion an English title.
Laure/Mikael is 10 years old, her/his family has moved to a new town and we follow her/his adventures over one summer as s/he negotiates the early complexities of selfhood: playing a game of football, finding s/he is attracting the attention of local girls and facing the ultimate test of wearing a bathing suit. In France, the film was received as a family film and went on to be shown in primary and secondary schools as part of classes about cinema.
The second British lesbian film to be included on the list, Break My Fall is the story of the painful end of a one-time loving relationship. A previous BAFTA nominee for best short with 1999âs Travelling Light, writer/director Kanchi Wichmann made this feature debut shooting on 16mm on the streets of east London. (Campbell Xâs East End-set Stud Life, made a few years later, is also worth a peek)
Influenced by the formalism of early Chantal Akerman films such Je tu il elle (1975), it boasts music from local bands (Wet Dog, Peggy Sue) and the kind of realistic characterisation of people and city that can be found in Bette Gordonâs cinema (eg Variety, 1983). Released in 2012, Break My Fall (together with Weekend and others) was identified as part of a new wave of queer cinema, charting queer experience in all its complexities.
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Originally published: 11 March 2014
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